CIHM 
Microfiche 
Series 
({Monographs) 


ICIVIH 

Collection  de 
microfiches 
(monographies) 


Canadian  Institute  for  Historical  Microreproductions  /  Institut  Canadian  da  microreproductions  historiquas 


Technical  and  Bibliographic  Notes  /  Notes  technique  et  bibliographlques 


The  Institute  has  attempted  to  obtain  the  best  original 
copy  available  for  filming.  Features  of  this  copy  which 
may  be  bibliographically  unique,  which  may  alter  any  of 
the  images  in  the  reproduction,  or  which  may 
significantly  change  the  usual  method  of  filming  are 
checked  below. 


\2 
D 

D 

n 
n 
□ 

D 
D 
D 

D 


Coloured  covers  / 
Couverture  de  couleur 

Covers  damaged  / 
Couverture  endommagee 

Covers  restored  and/or  laminated  / 
Couverture  restauree  et/ou  pelliculee 

Cover  title  missing  /  Le  titre  de  couverture  manque 

Coloured  maps  /  Cartes  geographiques  en  couleur 

Coloured  Ink  (i.e.  other  than  blue  or  black)  / 
Encre  de  couleur  (I.e.  autre  que  bleue  ou  noire) 

Coloured  plates  and/or  illustrations  / 
Planches  et/ou  illustrations  en  couleur 

Bound  with  other  material  / 
Relie  avec  d'autres  documents 

Only  edition  available  / 
Seule  edition  disponible 

Tight  binding  may  cause  shadows  or  distortion 
along  interior  margin  /  La  reliure  serree  peut 
causer  de  I'ombre  ou  de  la  distorsion  le  long  de 
la  marge  int^rieure. 

Blank  leaves  added  during  restorations  may  appear 
within  the  text.  Whenever  possible,  these  have 
been  omitted  from  filming  / 11  se  peut  que  certaines 
pages  blanches  ajoutees  lors  d'une  restauration 
apparaissent  dans  le  texte,  mais,  lorsque  cela  dtait 
possible,  ces  pages  n'ont  pas  ete  filmees. 


L'Institut  a  microfilm^  le  meilleur  examplaire  qu'il  lui  a 
ete  possible  de  se  procurer.  Les  details  de  cet  exem- 
plaire  qui  sont  peut-Stre  uniques  du  point  de  vue  bibli- 
ographique,  qui  peuvent  modifier  une  image  reproduite, 
ou  qui  peuvent  exiger  une  modifications  dans  la  meth- 
ode  normale  de  filmage  sont  indiques  ci-dessous. 

I     I      Coloured  pages  /  Pages  de  couleur 

I     I      Pages  damaged  /  Pages  endommagees 

I     I      Pages  restored  and/or  laminated  / 
' — '      Pages  restaurees  et/ou  pelliculees 

[7^    Pages  discoloured,  stained  or  foxed  / 
' — '      Pages  decolorees,  tachetees  ou  piquees 

I     I      Pages  detached  /  Pages  detachees 

17/1'     Showthrough  /  Transparence 

D 


D 
D 


n 


Quality  of  print  varies  / 
Qualite  inegale  de  I'impression 

Includes  supplementary  material  / 
Comprend  du  materiel  supplementaire 

Pages  wholly  or  partially  obscured  by  errata 
slips,  tissues,  etc.,  have  been  refilmed  to 
ensure  the  best  possible  image  /  Les  pages 
totalement  ou  partiellement  obscurcles  par  un 
feuillet  d'errata,  une  pelure,  etc.,  ont  ete  filmees 
a  nouveau  de  fa9on  a  obtenir  la  meiMeure 
Image  possible. 

Opposing  pages  with  varying  colouration  or 
discolourations  are  filmed  twice  to  ensure  the 
best  possible  image  /  Les  pages  s'opposant 
ayant  des  colorations  variables  ou  des  decol- 
orations sont  filmees  deux  fois  afin  d'obtenir  la 
meilleur  image  possible. 


a 


Ad(itk>nal  comments  / 
Commentaires  supplementaires: 


Pages  31-32  are  missing. 


This  ittm  is  filmed  at  the  reduction  ratio  checked  below/ 

Ce  document  est  f  itme  au  taux  de  riductton  indiqui  ct-dejsous. 


10X 

14X 

18X 

72% 

26  X 

MX 

4 

12X 


16X 


20X 


24X 


28X 


32  X 


Tha  copy  filmed  hara  has  baan  raproducad  thanks 
to  tha  ganaroaity  of: 

National  Library  of  Canada 


L'axamplaira  film4  fut  raproduit  grica  A  la 
gAnArositi  do: 

Bibliothequo  nationala  du  Caiutd* 


Tha  imagas  appaaring  hara  ara  tha  baat  quality 
poaaibia  conatdaring  tha  condition  and  lagibility 
of  tha  original  copy  and  in  kaoping  w^ith  tha 
filming  contract  apocifications. 


Lat  imagaa  auivantaa  ont  Ate  raproduitaa  avac  la 
plus  grand  toin,  compta  tanu  da  la  condition  at 
da  la  nanat*  da  l'axamplaira  filmi,  at  9f\ 
conformity  avac  las  conditions  du  contrat  da 
filmaga. 


Original  copiaa  in  printad  papar  covars  ara  filmad 
beginning  with  tha  front  covar  and  anding  on 
tha  last  paga  with  a  printad  or  illustratad  impraa- 
sion,  or  tha  back  cowar  whan  appropriata.  All 
othar  original  copias  ara  filmad  baginning  on  tha 
first  paga  with  a  printad  or  illustratad  impras- 
sion.  and  anding  on  tha  last  paga  with  a  printad 
or  illuatratad  imprassion. 


Tha  laat  racordad  frama  on  aach  microficha 
shall  contain  tha  symbol  -♦•  (maaning  "CON- 
TINUED"!, or  tha  symbol  ▼  (maaning  "END  ). 
whichavor  appliaa. 

Maps,  platas,  chans.  ate.  may  ba  filmad  at 
diffarant  reduction  ratios.  Thosa  too  larga  to  ba 
entirely  included  in  one  exposure  ara  filmad 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diagrams  illustrate  the 
method: 


Les  exempiaires  originaux  dont  la  couvanure  en 
papier  est  imprimee  sont  filmes  en  commencant 
par  la  premier  plat  at  en  terminant  soit  par  la 
darniAre  paga  qui  comporta  une  empreinte 
d'impression  ou  d'illustration,  soit  par  la  second 
plat,  salon  la  eas.  Tous  les  autres  exempiaires 
origineux  sont  filmAs  en  commencant  par  la 
pramiAre  paga  qui  comporta  une  empreinte 
d'impression  ou  d'illustration  at  en  terminant  par 
la  d«rni*ra  page  qui  comporta  una  telle 
amprointo. 

Un  doa  symbelos  suivants  spparaitra  sur  la 
darniAra  image  da  cheque  microfiche,  selon  le 
cas:  la  symbole  — »  signifie  "A  SUIVRE  ",  le 
symbolo  V  signifia  "FIN". 

Las  cartaa,  planches,  tableaux,  etc..  peuvent  atre 
filmAs  A  das  taux  da  reduction  diffArants. 
Lorsqua  la  document  est  trop  grand  pour  atra 
raproduit  en  un  seul  clichA.  il  est  film*  A  partir 
de  I'angle  supArieur  gauche,  de  gauche  A  droita. 
at  da  haut  an  bas.  an  pranant  le  nombre 
d'imeges  nAcessaire.  Les  diagrammas  suivants 
iliustrant  la  mOthoda. 


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HOVV'  TO  TEACH 

DRAWING 


A  Ttacbers'  Manual  to  be  used 
in  connection  'nith  Class  Room 
Practice;  Containing  Suggestive 
Lessons  in  Landscape  Drauing, 
Nature  Draining,  Object  Study, 
Figure  Draining,  Animal 
Drauing  and  Design;  Together 
•with  a  Glossary  of  Art  Terms 
and  a    Practical    Color  Theory 


THE  PRANG  COMPANY 

NEW  YORK       r     ICAGO       BOSTON        ATLANTA        DALLAS 
WINNIPEG,       TORONTO       MONTREAL       HALIFAX 


CopvriRht,  I>I4 
By  THE  PRANG  COMJ'ANY 


The  Table  of  Contents 

I.  i'lan  and  Punx)si„fr,raphic  Draw inKHfK)ks  .  7 

/             2.  The  Use  of  Draw iiiR  Materials        ....  9 

3.  ( Glossary  of  Art  Terms ^- 

4.  A  Practical  Color  Thfor> ,, 

5.  SugK'estive  Lessc^i,  -  Landscapt^  Washes  (Pri- 
mary Gr;  *  -s) 29 

6.  Suggestive  Lesson,— Seeing  as  a  Preparation 
for  Drawing  (Primary  Grades)       •  .     35 

7.  Suggestive  Lesson-  Illustrative  Drawing  (Ad- 
vanced Primary  Grades)     ...  .41 

8.  Suggestive    Lesson,  — A    Group    of   Objects 
(Intermediate  Grades) .7 

9.  Suggestive  Lesson,— Decorative  and  C.     struc- 
tive  Design  (Intermediate  Grades)      .      .     56 

10.  Suggestive  Lesson,— Animal  Drawing  (Inter- 
mediate Grades) 52 

11.  Suggestive  Lesson,— Figure  Drawing  (Gram- 
mar Grades) g_ 

12.  Suggestive  List  of  Art  Books  and  Art  Ma- 
terials      , 


The  Graphic  Drawing  Books 


Plan  and  Purpose 

The  "Graphic  Drawing  Books"  present,  in  attrac- 
tive form,  a  Course  of  Study  in  Drawing,  Design  and 
Industrial  Work.  While  these  books  are  based  on  the 
same  philosophy  that  for  years  has  been  the  educa- 
tional foundation  of  the  Prang  Courses  in  Drawing,  the 
work  presented  is  noticeably  affected  by  the  new  inter- 
ests that  have  recently  been  occupying  the  attention  of 
the  educational  world— the  industrial  interests  and 
their  relation  to  manual  training  and  the  crafts.  It  is 
felt  that  the  more  our  schools  undertake  to  train  along 
industrial  lines,  the  more  essential  becomes  art  in- 
struction that  is  thoroughly  sound  in  its  theory  and  in 
its  application. 

The  authors  of  these  books  believe  that  the  teach- 
ing of  Art  in  public  schools  is  upon  a  sound  basis  only 
when  it  rests  upon  an  understanding  of  principles;  they 
also  believe  that  appreciation  of  the  beautiful  is  best 
accomplished  through  the  study  of  principles  and  thor- 
ough practice  in  the  elementary  modes  of  expression. 
These  modes  of  expression  should  include,  not  only 
exercises  in  nature  drawing,  picture  making,  etc.,  but 
should  also  include  practice  in  the  useful  arts— those 
arts  which  are  vitally  connected  with  the  homes,  the 
occupations,  and  the  natural  interests  of  the  people. 

The  exercises  through  which  these  principles  are 
presented  have  been  carefully  prepared,  in  order  that 
they  may  suit  the  different  grades  of  children  in  school. 
There  are  nine  books  in  (;he  series — one  for  each  year 
in  the  elementary  grades  and  a  book  for  High  School 
students.    The  beginnings  of  all  the  different  lines  of 


THE  GRAPHIC  DRAWING  BOOKS 


work,  such  as  nature  drawing,  design,  construction, 
etc.,  are  found  in  the  book  for  the  first  year  in  school 
and  these  vanous  lines  of  work  are  gradually  unfolded 
in  the  successive  years  by  means  of  exercises  planned 
to  attract  and  develop  the  growing  interests  of  the 
pupil.  Changes  in  modes  of  expression  and  in  me- 
diums employed,  assist  the  development  of  the  work 
and  keep  the  interest  alive.  ' 

A  unique  feature  of  these  books  is  the  presentation 
of  a  scientific  Color  Theory  that  is  so  simple  and  so 
well  graded  that  it  is  not  only  practical  from  the 
teachers  standpoint,  but  easily  understood  by  the 
average  child.  It  is  coming  to  be  seen  that  Color  is 
at  the  basis  of  much  of  our  Art  work,  and  that  it  must 
be  taught  scientifically  and  not  by  "guess-work " 
The  series  of  eight  Hand-Painted  Color  Charts  in  these 
books  are  epoch-making  and  invaluable. 


Drawing  Materials 

•  ^P'"^^^"^  Books  are  planned  for  the  use  of  pupils 
in  the  class  room.  The  illustrations  present  the 
material  chosen  for  the  lessons  (such  as  plants,  objects 
landscape,  design,  etc.)  and  show  the  manner  of  render- 
R^u  ^."""1"^  feature  of  the  "Graphic  Drawing 
Books  is  that  the  processes  and  technique  are  pre- 
sented by  steps  that  are  illustrated.  As  a  rule,  other 
senes  of  Drawing  Books  have  presented  the  finished 
product,  and  the  manner  of  arriving  at  such  results  has 

ttl  Tt^uf '^  ^"^  ^^^  P"P^'  ^"d  ^«  the  inexperienced 
teacher.  The  blank  pages  in  each  book  are  to  be  used  for 
preserving  the  exercises  done  by  the  pupil,  so  that  at 
the  end  of  the  year  he  may  have  a  record  of  the  work 
accomplished. 

Mediums 

Pencil  black  and  colored  crayons,  water  colors, 
manila  and  tinted  papers  are  the  mediums  employed 
in  the  development  of  the  work.  In  the  first  and 
second  grades  the  black  crayon  found  in  the  "Cray- 
onex  box  or  in  the  "Art  Education  Box,"  No  i  or 
iNo.  2,  is  recommended,  instead  of  a  pencil. 

Use  of  the  Pencil 

The  pencil  is  the  generally  accepted  medium  for 
^uT^^  ^^  expression  in  drawing.  Results  can  be 
obtained  by  the  use  of  the  pencil  that  cannot  be 
secured  in  any  other  way.  A  pencil  having  a  soft  lead 
IS  best  suited  for  general  drawing  in  the  class  room. 
(The  Prang  Sketching  Pencil,  or  the  Prang  Drawing 

r^fhK-  '  ^^\L  ^  '""''^^^^  P«'"t  may  be  secured  by 
rubbing  the  lead  on  a  piece  of  paper.  In  making  a 
sketch,  try  to  obtain  the  desired  effect  by  direct  strokes 
ot  the  pencil,  that  is,  do  not  work  over  any  part  of  the 


DRAWING  BiATERIALS 


drawing  several  times,  as  this  will  produce  a  flat,  life- 
less result.     Keep  the  work  as  simple  as  possible 
Study  the  specimens  of  pencil  handling  in  the  drawing 
books  and  note  how  the  direction  of  the  strokes  ex- 
presses mass,  as  well  as  the  quality  of  the  surfaces. 

Use  of  Crayons 

1  •  ,^°!P7^  crayons  are  especially  adapted  for  many 
kinds  of  decorative  work.  They  may  be  used  in  con- 
nection with  Prang  Colored  Drawing  and  Construction 
papers  in  making  borders,  surface  patterns,  stencils, 
illuowations,  decorative  landscapes,  still  life  and  pose 
drawings.  The  black  crayon  is  an  excellent  substitute 
for  charcoal,  as  it  is  less  expensive  an^  does  not  re- 
quire "fixing." 

In  using  the  Crayons,  care  should  be  exercised  in 
laying  one  color  over  another  so  as  to  secure  a  har- 
monious blending.  The  best  color  effects  can  be 
obtained  from  Crayons  that  do  not  contain  wax,  such 
as  the  "Art  Education  Crayons,"  No.  i  or  No.  2. 

Use  of  Water  Colors 

Water  Color  is  the  most  desirable  medium  for 
coior  work.  In  working  from  nature,  more  satis- 
factory results  can  be  obtained  through  the  use  of 
Water  Color  than  with  pastels,  wax  crayons,  or  col- 
ored chalks.  In  using  the  brush,  either  with  color  or 
with  ink,  enough  color  should  be  taken  into  the  brush 
to  make  a  bold,  free  stroke.  Washes  in  large  masses 
should  be  made  with  the  side  of  the  brush,  and  line 
work  and  outline  drawings  with  the  point  of  the  brush. 
In  painting  masses  or  in  laying  washes,  the  paper 
should  be  held  at  a  slant,  so  as  to  allow  the  excess  of 
color  to  run  to  the  edge,  where  it  can  be  removed  by 
means  of  a  dr>'  brush  or  a  blotter. 

The  brush  should  not  be  used  for  cleaning  the  box. 

10 


Decorative  Landscape  Compositions.    These  may  be 
Traced  and  Filled  in  with  Color  Schemes 


II 


Decorative  Landscape  Compositions.    These  may  be 
Traced  ana  Filled  in  with  Color  Schemes 


13 


DRAWING  MATERIALS 


After  each  lesson,  the  brush  should  be  rinsed  in  water 
and  the  water  shaken  out.  Do  not  wipe  the  brush,  but 
allow  It  to  dry,  as  this  will  preserve  its  shape.  No 
smaller  brush  than  number  seven  should  be  used. 

The  Mixing  of  Colors 

The  Prang  3A  Box  contains  red,  yellow  and  blue, 
and  black.  The  first  three  are  known  as  the  Primary 
Colors,  and  from  them  any  desired  color  can  be  made. 

Red  and  yellow  mixed  produce  orange. 

Yellow  and  blue  produce  green. 

Red  and  blue  produce  violet. 

Red,  yellow  and  blue  produce  the  neutral  tones. 

Black  may  be  used  to  darken  any  of  the  colors. 

The  combination  of  two  Primary  Colors  produces 
a  Binary  color.  Thus  orange,  green  and  violet  are 
Binary  colors. 

All  colors  in  full  intensity  are  called  Normal  colors; 
that  IS,  the,  are  not  grayed.  The  addition  -f  a  third 
Primary  to  a  combination  of  two  Primaries  has  the 
effect  of  graying  the  color.  For  example,  normal  yel- 
low and  normal  blue  when  mixed  in  equal  quantities 
produce  normal  green.  The  addition  of  red  renders 
the  mixture  gray-green.  Nature  shows  very  little  color 
in  full  intensity,  or  normal. 

There  are  many  hues  of  color  which  classify  unde, 
the  general  name  of  green.  They  comprise  many  varia- 
tions of  yellow-green,  blue-green  and  gray-green.  These 
vanations  of  color  are  in  direct  proportion  to  the  quan- 
tity of  the  three  primary  colors. 

As  has  been  stated,  yellow  and  blue  when  mixed 
produce  green.  If  much  blue  and  little  yellow  are  com- 
bmed,  a  blue-green  will  result;  if  much  yellow  and  a 
httle  blue  are  combined,  a  yellow-green  will  result.  If 
red  IS  added  to  either  of  these  resulting  hues,  they  will 
be  grayed,  httlr.  or  much,  according  to  the  quantity  of 
red  added. 


»3 


DRAWING  MATERIALS 


Since  the  rombination  of  red  and  yellow  produces 
orange,  it  is  apparent  that  much  red  and  little  yellow 
will  produce  a  reU-orange;  much  yellow  and  little  red 
^r^'l^.'^y^^^?'^ -orange.  Agan.  the  effect  of  adding 
the  third  Primary  Color  (in  this  case  blue)  is  to  gray 
the  orange.  *"    ' 

The  same  is  also  true  with  red  and  blue,  which 
when  mixed  produce  violet.  A  red-violet  is  formed 
jf  more  red  than  blue  is  used,  and  n  blue-v.olet  if  more 
blue  than  red.  All  the  resulting  red-violets  and  blue- 
violets  may  be  grayed  by  the  addition  of  yellow,  the 
remaining  Primary  Color. 

Before  attempting  to  mix  a  color,  anayze  it  in 
some  such  manner  as  follows:   Suppose  we  wish  to  re- 
produce a  color  which  is  a  blue-green-gray.     Since  it  is 
a  blue-gr'.en,  it  contains  more  blue  than  yellow,  and 
being  gray,  it  must  have  a  considerable  amount  of  red' 

In  mixing  colors,  use  from  the  yellow  or  red  before 
taking  blue,  thereby  keeping  the  surface  of  the  colors 


Use  of  Colored  Papers 

The  use  of  colored  drawing  and  construction  papers 
has  become  an  important  factor  in  the  development  of 
Art  Education  in  the  public  schools  of  the  country 
Papers  of  a  firm  texture  and  of  carefully  se  ectcd  colors 
may  be  used  for  various  purposes,  such  as:  water-color 
studies   still  life  groups-drawn  with  colored  crayons 
and  white  chalk-paper  construction,  industrial  work, 
design    and  for  mounting.     By  means  of  these  papers 
beautiful  color  combinations  can  be  secured,  and  a  new 
hne  of  interest  awakened  with  less  effort  than  with 
material  formerly  used.    The  lighter  tints  can  be  used 
for  pencil  work  and  outline  studies  in  sepia,  while  the 
soft  grayed  colors  are  suitable  for  winter  landscapes, 
still  life,  and  figure  drawing.     The  darker  shades  fur- 
msh  an  excellent  color  scheme  for  boxes,  portfolios, 

14 


DRAWmo  MATERIALS 


and  toy  furniture.  (Prang  Colored  Drawing  and  Con- 
struc  ,on  Papers  are  uniform  and  of  fine  quality  A 
sample  book  of  these  parsers  of  "Prang  Drawing  Pa- 
pers    will  be  sent  teachers  on  request.) 

Selection  of  Specimens 

Encourage  pupils  to  bring  specimens  for  their 
nature  lessons.  Select  those  that  will  best  show  the 
characteristic  of  the  subject.     A  large  spray  is  better 

l^tL^T-  ••''"^  ^n  ^^"^  "^*"^^'  S'"«^th  is  not  vio- 

lated,  this  pruning  will  simplify  the  study. 

Arrangement  of  Studies 
The   preparation   of   the   naterial    for   a   nature 

rom"nIantT''   ""r.'""''      ^"    ^^^^'"^   ^'   P^'"ting 
trom  plant  forms,  fruits,  vegetables,  and  still  life  the 

p&^'a  t^P^^'  ^^  ^^"^  ?^^  P"P^'  -"  '-  it 
[o  fin  ;i.  "^tisfactory  way  to  show  the  specimen  is 
to  fill  glasses  and  bottles  with  wet  sand,  sa  that  the 
flower  or  grass  will  stand  upright.  Plice  these  on 
boards  across  the  front  desks  of  alternate  aisles.  When 
the  specimens  are  small,  additional  studies  should  be 

downThe  afsle  ^'^''^  ^''^'^  '^^  ^^^^^  ^^^^'^^^ 

th;c  ??^.^^°""d«  should  be  placed  behind  studies  of 
this  kind.     Do  not  ask  pupils  to  draw  from  a  small 

otr  ^t^LTrt  ':^'''''  '-'^  -  p^"-^  ^«  ^^^  ^«P 

Mounting  Work 

.r^^^^^\  sufficient  practice  in  any  lesson  to  secure 
good  work  has  been  given,  one  or  tw.  of  the  results 
should  be  neatly  mounted  on  the  blank  page  of  the 
book,  ..^posite  the  lesson  under  consideration.     This 

15 


DRAWm  O  MATERIALS 


hif  thf  °"^  ^y  tnmming  the  edges  of  the  drawing  so 
that  the  arrangement  on  the  page  is  a  gor>d  one.  The 
appearance  of  the  sketch  is  much  improved  if  it  is  first 
mounted  on  a  piece  of  harmoniously  colored  pap^r 

all  ddes^  ^  '"^'^'"      ^  ''"^'^^'  °^  ^"  '"*'*'  ^°  project  on 

.1,  .V^^m!"  °^  "^^^^'"  ^^^^^  ^°  the  four  corners  of  the 
sketch  will  secure  it  to  the  colored  paper,  and  simi! 
Wly.  a  touch  ol  pastt  to  the  four  corLVof  the  tinned 
paper  will  secure  it  to  the  page  of  the  book. 


I6 


A  Glossary  of  Art  Terms 


ACCENTED   LINE:    A  line  that  is  varied  in  strength   beinir 

ecpress  certain  qualities  o.  lorm  and  texture.    Sometimes  it  i« 
broKen,  the  eye  seen  ing  to  continue  the  outiin? 

^^Pi^^"  u^*™"8;  touches  of  color  or  of  dark  value,  soarinirlv 
placed,  to  bnng  out  certain  qualities  of  form  or  texture        *^ 

^^I-?5f'     ^^®  expression   in  a  drawing  or  painting  of  an 

B 

^^SSKtuiie^  :?:^:2n°^  ^"  ^^"'^*"'^"'  °^  ^-p*^- 

far'helt'f^om^theoLJ^rer.""^""   "''^'   "^^^"^  -'^^^    » 

^VSS^lf!^  '^'  J*?  "^^"^^  •""  ^  f*'^"^  «  to  indicate  by  light 
lines,  Its  general  size,  shape  and  proportion  without  anv 
attempt  to  show  a  finished  dVawing.       *~'^"°"'  w«no"t  any 


"i^Tac!l"S  uSL^''^^^-  -^^  •'^  -  <>^i-  "Pon  the 
CHARGING  THE   BRUSH:    Filling  the  brush  bv  dippin,.  it 

mLrL^brusHirj:^"'^;.  "^.  '^T^^^"  charged UhS" 
means  a  brush  filled  with  color,  but  not  dripping. 

COLOR  SCHEME:  A  range  of  colors  found  in  mature  or  uspH 
in  designs  or  in  pictures;  as,  the  color  scheme  S  a  n^turtiSm 
may  be  orange,  red,  yellow-green  and  greerof  a  Sc  (Sle^ 
gray-green,  gray-orange  and  black,  etc  '  °' ^  ^^^  cover. 

^ ?i!l^^III?^=.  ^  '^°"^'^*^"'  ^^-"genient  or  adaptation  of 
hn^,  shap«,  values  or  colors,  resulting  in  beauty.  Comoosi- 
tions  may  be  pictorial  or  decorative  in  char^ter       ^°™P°*'- 

CONSTRUCTION  PAPER:  Any  paper  heavy  enough  to  re- 
tain  a  shape  when  folded  and  lighfiJougrS:  cut  and  ^te 


17 


A  GLOSSARY  OF  ART  TERMS 


D 

DECORATIVE  TREATMENT:  Treatment  that  does  not 
■eek  to  express  fact  or  reality,  hut  aims  to  express  arranire- 
ments  of  hnes,  masscj.  or  colors,  whether  from  natural  or 
abstract  motives,  m  acconlance  with  the  principles  of  design. 

DESIGN:  An  idea  or  thought  expressed  in  an  orderiy  way.  A 
design  may  be  pictorial,  -corative.  or  constructive  in  char- 
aCicr* 

^]?'J^NCE:    That  part  of  a  picture  which  is  near  the  horizon 

DOMINANT  COLOR:  A  color  that  enters  into  and  influences 
all  other  colors;  for  mstance,  m  a  landscape  where  the  golden 
sunlight  of  eariy  morning  seems  to  bathe  every  object,  yellow  is 
the  dominant  color;  on  a  rainy  day,  gray  is  the  uominant  color. 

DRAMATIC  ACTION:  Acting  a  scene,  an  occupation,  or  a 
game,  for  the  purpose  of  strengthening  a  pupil's  mental  image. 


EFFECTS:    Graphic  expressions  or  results  which  suggest:  as. 
sky  effects,  clouu  effects,  stained-glass  effects,  etc. 


FINDER:  A  device  used  to  assist  in  the  making  of  compositions. 

FLAT  WASH.   FLAT  COLOR.   ETC.- An  even  tint  of  color 
or  gray,  showing  no  variations  or  modelln  g. 

FOREGROUND:  That  part  of  a  picture  which  represents 
what  IS  nearest  to  the  observer. 

FORESHORTEN:  To  represent  a  surface  or  an  object  so  as  to 
convey  the  impression  of  its  full  extent,  although  but  a  shorter 
or  narrower  extent  is  actually  shown.  For  example,  in  a  land- 
scape the  surface  of  the  earth  from  foreground  to  horizon  line 
is  represented  m  a  very  short  space,  although  the  effect  may 
be  that  of  several  miles.  Again,  if  an  object  with  a  circular  top, 
such  as  a  tumbler  or  a  bushel  basket,  is  :  en  slightly  below  the 
level  of  the  eye,  the  appearance  of  the  top  is  foreshortened,— 
It  appears  not  as  a  circle,  but  as  an  ellipse. 

I8 


A  QtOSSARY  OP  ART  TERMS 


G 

^'^^Vi^   r^>I^9R-    A  neutrali/ecl  color-  a  color  th.t  i 

•fi«I.  by  the  addition  of  its  CimmlcmJntar^Z  .(      "  '"™'- 
red  IS  grayw    hy  the  addiiinn  /'/'|'"^'"*'""0 ,  or  of  gray;  as. 

I>y  neutral  Kra>Vv«it  i^    L^^^^^^^^^^^  "r 

Rray.  etc.  ^^""^^^^  ''>    >'^""W.  or  by  neutral 

H 

HANDLINr,:     Another    mm-,    f^,    .    u  • 

manner  in  whwThoVi^c  i,'a.„S'''T;,r"'''"  '  ?  ""• 
»l»ak  of  pencil  hamllii  «  waterj^t?,  l  ii-  "'  J""'".'''-,  we 
diinu.  «c     Direct  ha™nn»^T7,M''"''['"'f'  '•'•'"■ual  hin- 

-iml  result  witS-'ut  trad^^.^t'S'fhXTh"'"  "■'■','"• 
second  t  me  over  a  surfa^  i  „  "■i"'^ ..'.'"»"  '"^  l*""!  a 
brush  or  pencil  in  an  eat^' (ri^       Handling:    {hwg  .he 

directly  w^Thout  :"wo?l<i^g'*oS^^an"XT:  '^^^^l  1)1'"' 
IS  opposed  to  ■•  tight  handling."  '     ^^    handling 

"IS".  s^n"'"i*„^an'"objr."  "'  ■"""■"  ■"  ""*'""'  <•'  *"!'«' 


'-o^l^^U'l^i^US'^det-re'tL"'^,'"  ""^''O"  -  - 

"o'^p^n^Sra^hfg'---^  '"^  "'™  ^V  ^^"«  only;  .he 
''^kJ;   T,''?h'*'T   ■^^  P"'!;"'  "'•  '^^harac.eristic  color  of  an 

MASS    DRAWING:    An  expression  of  ch         . 

nearlv  flat  tone  of  color  or  np!^rT  ^^P?  ^^  "'«^"«  of  a 
suggesting  onJy  tL  most  im^r.lf  ^^^'^'^'"'"^^  ^^^^•'«'  «"d 
or  form;  t'he  op^sileTuneX^^ng  '""'""^  '"  ^''^  '""''^'^ 

^"^rcSifoSr..  '^For'iiite'we"  '"1"'?  Y^'^'^  ^"P-"^  <^har- 
muscles.  in  drawbg    Sffi" „%  "f'^f  °^^ 
vegetable  or  a  'eaf f  mcSe^^  .1^^^,^^^"^^^^^^^^^^ 

19 


A  GLOSSARY  OF  ART  TERMS 


MOT-^VE:    The  idea  or  suggestion  upon  which  a  design  (usually 
flower  form,  or  abstract,  as  a  geometric  line  or  shape. 


-y 


N 


^ni!I^^  ^^^,"=    A,  *'"t  ^fg'-ay  Obtained  from  ink  or  black 
pamt;  a  neutral  wash  may  be  any  degree  of  gray  between 


black  and  white. 


OCCUPATION    WORK: 
educational  ends. 


O 


"Busy  work"  planned  for  definite 


''^!'!'J^^'  -v  ^"•■(a<^\"Po.n  which  paints  are  mixed.  The  cover 
of  the  pupil  s  pamt  box  is  designed  to  be  used  as  a  palette 

PENCIL  PAINTING:  Expressing  the  qualities  of  an  object 
by  nieans  of  strokes  made  with  the  flat  side  of  a  long  lead  veTy 
much  as  a  brush  is  used.  ^         '       ^ 

PICTORIAL  TREATMENT:  Treatment  that  seeks  roexpress 
in  an  artistic  way.  fact  or  reality;  realistic  rendering       *^' 

^hf.'o^*'^  attitude  or  position  assumed  by  a  figure,  in  order 

• 'i^:'- rsju'j;::^'"^  '"^^  ^  -^^-  ^--»^  --times 

R 
RENDERING:    The  manner  of  doing  a  thing;  as,  "the  picture 

SfarcoS  —  th^  ^"'•''  '''^''T"  "^h  ^•'^tch  was  rende^S   n 
charcoal,       the  music  was  beautifully  rendered." 


SKY  LINE:  The  line  made  by  shapes,  such  as  hills,  trees  roofs 
chimneys,  etc.    cutting  against  the  sky.     A  sky  liS?'is  noi 
necessanly  the  horizon  line. 

STILL  LIFE:  Objects  without  life,  although  fruits  and  flowers 
are  frequently  included  in  the  term;  so  are  mounted  birdsTnd 
insects,  or  other  animal  forms  from  which  life  haV  gone  In 
Sr";w  .°°  ^^^'  '*'"  '1^^  '^^^'^  to  objects  selected  for 
f^r  stidy        """         '^'  °'"  ^'■^'^"*  interesting  problems 


f 


30 


A  GLOSSARY  OF  ART  TERMS 

^^for^sJudy.  ^"  °*'^'''  °'  ^  ^'■^"P  °f  ^''J^*^  ^>«^t«l  or  arranged 


TECHNIQUE:    The  peculiar  handling  of  a  medium    rem.lHn., 
"^fa^l^dS"^^    "^5""^  "'•'  -"^""^  i"  "Wch  a  sketch  or  design 


"^^ST'^^BriiargS 


"'tak"ove?  a'l^K""'*'"'  ""^"^  °'  ^  ^"''^-  "I  "^ter,  color,  or 
necessary  for  the  construction  of  the  obj^t 


ai 


i 


A  Practical  Color  Theory 

sense  '^J  sZe^enm^knoJJleZ"^  ,"'  ""*  ^'"^ 
nensphlf.      Ao,-^   ^'^"""^  Knowledge  of  color  are  indis- 

value  unless  iuiusri"        ''"  '  P'""°-    "  '^  "^  «"'^ 

Spectrum  Colors 

If  we  place  a  glass  prism  in  the  sun  so  thaf  ;>  ,•»„ 
of  light  passing  through  the  prism  is  throw^  on  a  whS 

rintw  seriet7cJoV''^Ar  T"  "■^f-"'-  t'h': 
colors  of  the  spec  rTm  ^fejfn''"'''?  "^^ ''^wn  as  the 

intel^^'dS^US-Sntt^-^inr^^^^^^^ 

83 


A  PRACTICAL  COLOR  THEORY 


resent  by  pigments.  In  dealing  with  pigments  wp 
find  that  three  of  the  six  colors  seen  in  the^s"m  a^e 
the  basis  for  all  other  colons.     These  thr^    Ydlow 

ar'e'in'l^'"?'  "^^^"  ^""^^  ColoL,' b'aus^thT; 

The  Primary  Colors 
These  colors,  Yellow,  Red  and  Blue  are  elements 
each  one  totally  unrelated  to  the  other  tL      From 
their  mixtures,  with  the  use  of  black  and  white    aT^ 
other  colors  may  be  made.  ' 

The  Binary  Colors 

The  union  of  any  two  Primary  Colors  Dro'dures  ^ 
new  color,  called  a  Binary  Color  Th".7?«  [hf  • 
of  yellow  and  red  produces^thetnary'^o^angt  union 
of  yeHow  and  blue  produces  the  binary  green  •  the  un  on 
o^  red  and  blue  produces  the  binary  violet  Orang^^^ 
green  and  violet,  then,  are  known  as  Binary  Colors 

Hue 

Hues  are  the  steps  between  Primary  and  Binarv 
Co  ors.  Hues  are  named  from  the  amount  of  Primarv 
vet  ^"^T\  ^""^  ^"«^^"^^'  to  normal  ^een  ad  J 
«HH  w'  ^""^  J'"r  ^'"^"  ^«  produced;  to  normal  green 
add  blue,  and  it  becomes  blue-green.  Yellow-green  and 
blue-green,  then,  are  hues  of  green.  ^ 

Tone 

ibie  to  ?hiUo^*  T^''""  ^^  ^*^f  ^  °^j^^t«  become  vis- 
iDie  to  the  eye.     It  is  a  general  term  for  any  soot  of 

color,  gray,  black  or  white,  as  the  musical  term  '  tone  " 

means  any  musical  sound  or  note.        "-**' ^^^"^    t*^"^ 

24 


^-A 


T  H 


Pis.  t. 


Fig.  2. 


Fig.  3. 


FiK.  3. 


Positions  of  the  Pencil 


Fig.  4- 


Fig.  6. 


L.of  E. 


The  Cube  at  Forty-fix. ■  DeT-r 


V.P.L 


V.R2. 


The  Cube  at  Thirty  and  Sixty  Degrees 


25 


in 


A  PRACTICAL  COLOR  THEORY 


Normal  Colors 


,        The  perfect  standard  type  of  any  pure  color  ,« 
known  as  normal  or  standard  color.  ^ 

Value 
The  quahty  of  a  color  with  reference  tn  Icrh*^  o  a 

Intensity 

bnlhancy  is  red  in  full  intensity.  greatest 

Neutral  Colors 

fhp  nK  ?    ^-     ^^  '"^  absolute  neutrality.     Black 

„n-         f"";;'  ^    '^^'"'■'  ^^  ^  "^"tral  tone.     White    the 
union  of  all  colors,  is  a  neutral  tone     r^u       !i   '•, 

are  arbitrary  tones  used  as  neutral"  '    ^''^  ""^  ''^^'' 
Tints  and  Shades  of  Colors 

in  vaL  than'"::?,  Zl^a^cXd  ^hatT  %t7 
A  Color  Scheme 


t 


26 


A  PRACTICAL  COLOR  THEORY 
MONOCHIiOMATIC   COLOR  SCHEMES 

values  of  a  0010^^  oran-  r  k,^^"^«  '"^y  be  different 

or  different  int;^^dero7:'S;  S  ofan^f'  r"^^^' 
sity,  orange  grayed  one  h^\f  IZi  ^  "^^  ^""  '"^en- 

fourths).         ^      one-half,  and  orange  grayed  three- 

Complementary  Color  Schemes 

cont^.Ts!':TXi:t:  oti-r  ;'""•  ^-^  ->- 

Phasizing  each  Xr  Cn  J.i  ^^  °^  enriching  or  em- 
the  Color  Circle  See  .h?p^^T".^^^y  ^«'«»-«  o^^^ur  in 
site  ends  o  diameters  Wh"^  ^°^°'  ^"'"^^^  ^'  «PP«- 
schemes  are  used  the  color^  complementary  color 
raying,  unless  ^a  ^^^L^^^S^^^^ 

Analogous  Color  Schemes 

those'^wtf  areTdTaLn^^^        •  i"^'P^-«  -«'«-  are 
Circle  (See  the  fccnT  "^g^^oring  in  the  Color 

yellow/yelloil^oraie^nd  oT^^^^^^^  ^"^  ^^^'^'P'^' 

analogous  colors  •  red  rpW.-T!^  J  ^'^'■?'  """^  S^'O"?  of 

When  usedTn  pracdc^l  n^^^^^^^^^^     ^"^  T^^^"'  ^^''"^  ^"o^her. 
be  grayed.    ^^''^'''P'''^^^"^^' analogous  colors  should 

How  Colors  May  be  Grayed 

touch^Tit?!:LSen^  -^^^^  ^^  ^^^-^  a 

added  to  a  pool  of  norSln  -i  ^  P^^"  ^ater-color 
red;  a  touch^f  red  addTn  /  '^"  ""^^^  "'^^  ^^  8^ay- 
will  make  lay^^^^^^^  ^,  «^^^"  Pool  of  water-color 

equal  partsTf're'd  w"il  rfs'ult  ^n''^^°^^"""  ^^^^^  to 
with  all  other  P^lrsl^^XL^en^^^^^^^^^^       ''  '^  - 

27 


A  PRACTICAL  COLOR  THEORY 


How  TO  Mix  Colors  in  Half  Intensity 

Three  parts  of  one  color,  as  yellow,  plus  one  part 
of  another  color,  as  violet,  will  result  in  a  tone  in  half 
intensity  of  the  dominant  color,  as  gray-yellow,  one- 
half.  Three  parts  of  violet  plus  one  part  of  yellow  will 
give  gray-violet,  one-half,  etc.  Colors  in  full  and  half 
intensities  are  illustrated  in  the  Prang  Color  Chart 
No.  VII.  Colors  in  half  and  quarter  intensities  are 
illustrated  in  the  Prang  Color  Chart  No.  VIII. 

Pigments 

Pigments  are  materials  employed  in  producing 
paints,  dyes,  stains,  etc.  They  are  not  absolutely 
pure,  as  they  must  of  necessity  contain  more  or  less 
alloy.  Hence  color  tones  produced  with  pigments  can 
never  attain  the  purity,  brilliancy,  and  luminosity  of 
the  colors  of  the  spectrum. 


28 


Suggestive  Lesson  No.    i. 
Subject:   LAN  DSC  A  PK  WASHES 

(For  Primary  Grades) 

Lessons  in  landscape  washes  are  given  to  children 
in  primary  grades  with  a  twofold  purpose  in  mind: 
(  )  to  teach  the  free  handling  of  the  brush  and  color  in 
blending  colors  and  in  spreading  washes;  (2)  to  direct 
the  observation  of  children  toward  large  masses  in  na- 
ture—the sky,  the  ground,  the  distance— cultivating 
appreciation  of  the  beauty  of  nature  under  different 
conditions,  and  giving  children  some  idea  of  how  these 
beauties   may   be   expressed.     Exercises   such   as   the 
following  give  children  the  joy  of  color  handling,  and  do 
not  tax  them  with  the  drawing  of  details.     Children  see 
masses  before  they  are  conscious  of  details;  hence   the 
representation  of  sky,  earth  and  distance  by  meaAs  of 
color  washes  seems  a  natural  expression  of  universal 
surroundings. 

Materials  needed  for  each  child:  Prang  water-color 
box  and  brush,  water  pans,  6x9  manila  paper,  trunk- 
board  or  back  of  pe/icil-tablet,  a  small  sponge  or  soft 
cloth,  and  a  Graphic  Drawing  Book"  for  the  grade 
being  taught.  (These  materials  may  be  grouped  for 
each  aisle  and  placed  on  the  front  desks;  at  a  given 
signal  they  may  be  quickly  passed  back,  down  the  aisle.) 
VVe  are  all  ready  for  our  lesson,  but  we  must  not 
handle  our  materials  until  it  is  time  for  us  to  paint 
Who  can  tell  me  what  time  of  year  it  is?  Yes  it  is 
spring.  Wonderful  things  happen  out-of-doors  in  spring. 
Who  can  tell  me  some  of  them?  (The  seeds  sprout  the 
Howers  come  the  grass  becomes  green,  the  leaves  come 

''''^\uH  ,7^^'  Y^  ^"  ''•'^  ^^^  ^P""g-  and  are  glad  to 
see  the  fields  and  meadows  green  again.     Look  out  at 

20 


I'l 


OUTUNB  OF  DRAWING 


o™v™r";.",r" '"  ™'^ "'-'' ""'"--  -^-o- 


the  sky  this  bright,  sunshiny  day,  and  tell  me  whn. 
color  It  IS.  Yes,  it  is  a  bright  blue  Is  the  "lev  al»  v  ! 
blue?  No.  indeed!  We  know  there  are  many  da  s 
when  the  sun  does  not  shine  and  the  sky  isTulL   S?e, 

"Sky  SO  blue, 
I  see  you. 
Grass  so  green, 
I  see  you." 

Open  your  drawing  books.*  Who  can  find  a  picture 
that  shows  the  blue  sky  and  the  green  grass  and 
nothing  -Ise?  Arthur  has  found  it.  It  is  a^Sre  of 
ou^of-dc   rs.  and  we  are  going  to  try  to  paint  a  picture 

^^f£!T-  M^'  'I"'  ^f  ^  pleasant  day  in^sprirVg.' 
when  the  sky  is  blue,  the  grass  is  green,  and  it  is  time  to 

Dart  of  thl  il  r  P- 'V,'  '^y  °'  ^^""^-  ^^«'  the  larger 
part  of  this  picture  is  blue;  we  see  in  the  picture  more 

sky  than  ground.     Close  your  books  and  watch  m^    I 

am  going  to  paint  a  picture  for  you,  something  likethe 

one  you  have  just  seen  in  the  book.    We  call  a  picture 

of  out-of-doors,  where  we  can  see  land  and  sky    and 

sometimes  trees,  houses  and  water,  also,  a  landscape.   So 

to-day  we  are  going  to  paint  a  spring  landscape     Here 

^  I  dfo  it^Jntn  ?H-P^^M-  .'  ^'^^  ^°  "^°^«t^"  it  all  over, 
fh Ai  PJk  '"^S  this  pail  of  water.  If  I  press  it  against 
the  blackboard  with  a  clean  blotter  it  will  keep  in  place 

W^  h      E^'"u  .  n  ^T  ^  ^"^  '^^^y  to  n^oisten  my  colors 
With  a  brush  full  of  water.  I  make  a  stroke  across  the 

tend^^o'^'t^S^^r;  -^^^^^^^^  [n  any  book,  but  arc  in- 

present  any  le^n  in  drawhff  ^  ^^^  *''*  ^^''^^'  *'^"  »"*e^P'-et  and 

30 


SUGGESTIVE  LESSONS 


ACQUAINTA.V  E    WITH    THE    MEANINC.   OF   ALL    NEW    TERMS   IS   AN 
IMPORTANT    PART   OF    V.Mll    LESSON  '      ' 


tops  of  all  tlu«  paints.     This  moistens  the  dry  colors  so 
that  they  are  ready  for  u^e.     I  wish  to  take  some  hUie 
pamt  m  my  brush,  so  [  wt  my  brush  ajjain,  shake  off 
he  extra  drops  of  w  ater,  and  draw  the  brush  across  the 
top  of  the  blue  pamt,  then  carry  my  brush  to  the  moist 
paper  on  the  blackboard,  and  place  it  at  the  upper  left 
corner.      I  carry  the  stroke  straight  across  the  paper  to 
the  upper  right   corner.     Lifting  my  brush.    I    Ix-gin 
again  at  the  left  side,  placing  my  brush  a  little  lower 
than  1  did  iH'fore.  and  carrying  the  stroke  across  as 
before.     Again   and   again    I   go  across,   until    I   have 
hied  my  paper  with  the  blue  wash.     If  I  need  more 
blue  m  my  brush.  I  dip  i„to  the  cake  of  paint  again. 
VVhat  have  I  painted?     ^^.s,  a  piece  of  the  blue  sky. 
But  1  wish  to  paint  some  ground,  with  green  grass  on  it. 
1  take  a  little  blue  pamt  in  my  brush,  and  then  draw  my 
brush  once  again  across  the  wet  cake  of  yellow      With 
these  t\yo  colors  I  make  a  stn)ke  across  my  paper    a 
httle  be  ow'  the  middle-.     What  new  color  have  I  made? 
(L.reen.)     Yes,  I  have  a  beautiful  green,  the  color  of  the 
grass  in  the  springtime.     I  will  carry  this  color  across 
my  paper,  taking  more  color  from  mv  paints  as  I  need 
It,  until  I  have  filled  the  lower  part  of  my  paper  with 
the  color  of  green  grass.     What  have   I   painted.?     A 
little  bit  of  out-of-doors,  which  we  will  call  a  landscape 


"Sky  so  hliH',  I  see  \()u. 
(Irass  so  grctn,  I  sic  y..... 
I  see  ><)ii  and  love  yoii,  and  so  i  will  paint  you. 


yon. 


My  picture  is  finished  and  I  shall  take  it  down  Could 
you  paint  one  like  it.>  Yes.  I  think  you  could,  if  you 
were  very  careful  to  do  just  as  I  did.     What  did  I  do 

the  b;"ish^'  rt  P^''^''^!"''>-  ''«^,«-^'f  '•>•  n-ians  of  a  water-wash  apphed  with 


33 


OUTLINE  OF  DRAWmO 


S!vr"L™^   "''"''    ^'^^'^^   TO   DRAW.    MAKE   SURE   THAT  THEY 
L^IL       "^  "^^^    l^NDERSTCX^D   THE   TEXT  ACCOMPAN^O   Z^ 


first?  (VVet  the  paptT.)  Fred  may  pass  the  pail  of 
water  and  you  may  dip  your  papers  in  it."  ^ 

Lay  the  wet  paper  on  the  tablet-back,  and  oress  i 

fc^'°/r  "^'^'^  ^«  ^^^^  "P  the  drops  of  water 
What  IS  the  next  thing?     (Moisten  the  pafnts       Who 

next^TTl''  ''"^  '  i"«i«tened  mine?  VVhat  do  we  do 
or^y  .(T^ke  pamt  for  the  sky-wash.  etc.  The  dais 
proceeds  m  this  way  until  all  the  steps  are  accomplished 

succe^^'the'sfpn ^- "^r" "  ^^^".  '^^^"'  ^^'^^  reasonable 

the  next  ste^?h.'"H'''"^  f  T"'  '^^y  ^'^  ^^^^y  for 
me  next  step—the  placmg  of  d  stance.     The  narir  ic 

moistened,  and  the  sky-wash  added,  as  before  ^ihe 
dis  ance  ..  ..,  distant  trees)  is  painted  before  the  fore- 
ground of  green  is  added,  using  a  violet  mixture  m^dt 
by  taking  a  very  little  blue,  a  little  r  J  and  i  ^f,t 

&"stroke'^^''  ^"'  ^^^P'l'"^  "-  -  sho 
Thil   u     \J^:    J''^  represent  the  shape  of  tS    trees 

n L V  xt  !  T^  ^y  ^^^^  °^  brushes  that  are  far 
\  ^:,  I^^  ^^^^^^'^  ^'ho^'d  paint  before  the  c  ass  and 
shouW  then  remove  her  picture,  and  req^^e  the  'work 

guidance."'  '''"  '^  ^^^P'  ^y  ^^^  ^hildL.  underTer 


34 


i 

4 


Suggrestue  Lesson  No.   2. 

Subject:   SEHING  AS  A  PREPARATION 
FOR  DRAWING 

{For  Primary  Grades) 

mZtv"-     ''  ".'!■"  word  JnrdVr":'/p^^k''^Xe 
iimig  10  say.     In  children  s  drawinirs  weak  anri  fo^ki 

the  children's  observation  to  essential  points 

1  he  exercise  here  given  is  supposed  to  precede  ^ 

«.ms;  CO  or  and  shape  of  leaves;  compari^^^^f  pLdcu 
ll^.T"'  ";"\°"'er  growths  of  brown-ey^l  Su^n- 
adaptation  of  the  size  of  the  drawing  paSr  ToThe 
shape  and  s.ze  of  the  specimen  to  be  dfawn^  "" 

1  he  teacher  is  before  her  class  with  a  fine  snerin-  • 

olht^  s^Srn^ln^rrt-e  ''^  "-"■  -''  ^^^^^ 
Who  can  tell  me  the  name  of  this  flower?  (Several 

35 


Ml  I 


M 


OUTLINE  OF  DRAWING 


WHEN   PUPILS    UNDERSTAND    WHAT   TO   DO,    ALLOW    THEM    TO   DO 
IT   THEIR   OWN   WAY 


names  will  probably  be  given,  such  as  daisy,  sunflower, 
etc.     The  teacher  decides  upon  or  gives  the  correct 
name.)    Yes,  it  is  called  the  brown-eyed  Susan.    I  won- 
der how  it  came  to  be  called  that?    (Because  the  center 
or  'eye'  of  the  flower  is  a  beautiful  brown.)  Where  does 
it  grow?     Do  we  plant  its  seeds  and  raise  it  in  our  flower 
gardens?     No,  it  is  a  wild  flower,  and  we  find  it  in  the 
fields  and  meadows,  and  along  country  roads.     Who 
can  tell  the  color  of  the  blossom?     (The  children  will 
probably  answer  'yellow.')  Yes,  some  people  would  call 
it  yellow,  but  it  is  not  the  yellow  of  the  dandelion  or 
buttercup;  it  is  a  deeper  and  richer  color,  like  the  out- 
side of  a  certain  fruit  that  we  all  like.    Who  knows  what 
the  color  is?    (Orange.)    Yes,  the  brow^n-eyed  Susan  has 
orange  petals,  and  a  deep  brown  center.     What  is  the 
shape  of  the  blossom?    (Round,  like  the  daisy  or  sun- 
flower.)    There  are  many  flowers  that  are  round  like 
this— that   have   a  central   part  with   petals  growing 
around  it.     Such  flowers  are  not  hard  to  paint,  for  we 
can  make  each  petal  with  a  single  stroke  of  the  brush. 
Who  can  tell  me  something  about  the  leaves?     They 
are  green,  of  course,  and  what  shape  are  they?     (Some- 
what long  and  pointed.)     Where  is  the  widest  part  of 
each  leaf?     (Near  the  middle.)     Does  each  leaf  grow 
by  itself  on  the  stem?     (No,  they  grow  in  pairs.)  When 
leaves  grow  in  this  way.  we  say  tJa^t  they  are  'opposite.' 
Look  at  the  base,  ojHb^r  pkrt  of  a  leaf,  and  see  if 
there  is  a  little  stem?    Yes,"  each  Te^  has  a  short  stem. 
Remember  that,  when  you  f»aint  or  draw  this  j 'ant. 
Are  all  the  leaves  the  same  size?     (No,  those  ^t  the 
top  are  smaller.)     Now  look  at  the  main  stem  of  the 
plant,  and  tell  me  where  it  is  the  largest.     (It  is  bigger 
at  the  low^er  part.)     Yes,  the  stem  is  larger  and  stronger 
near  the  ground,  and  grows  smaller  at  the  upper  part, 
near  the  flower.     Do  you  remember  the  golden-rod? 


^ 
♦' 


36 


A  Flower  Study  Well  Composed  and  Correctly  Spaced 


i 


11 


37 


■1: 


l\ 


A  Growth  of  Cherries,  Decoratively  Treated 


38 


SUGGESTIVE  LESSONS 


HAVE  PUPILS  STUDY  FOR   THEMSELVES  THE  TFVt   ak.^ 

TIONS   IN   THE   DRAWING   BOOKS  ''''''  ILLUSTRA- 


I 


/I 


Now.  let  us  open  our  Draw  ns  BonK     Wh  f  j   ^""• 
-e?   .{A  picf e  of  the  brol-eyo^d  Su'Jnf  tiZ 

LT^'-r^^J  *"?"'^''  'P'^y  of  this  same  piant      Te 
me  how  It  differs  from  the  one  we  have       The  child-n 

te  oXrf"  Who  "'  ";',rV^'^  '°°''  ^  ""'<^  Cer  thln 

At  the  sides       UW      '  l*""'.  "^''  ^""«'''  P*'"'''  ="•«? 

back  )     Nofi.    ■  u"'"';  ""^  ^'""■"^^'  petals?     (At  the 

fir«r  tI  ^H^  flower  IS  to  be  placed,  and  paint  that 
first      Then  with  a  single  brush  stroke,  we  St  each 

ZfjS^T'^Mt'T'  ^"^'u^'  ^^^  petals' iSlcfonge' 
green  we  tn.  flZ  T"?  '^'  ^^""^  ^^^^  ^  stroke  of 
E!.!u'  ^  f'^^  ^"^  ,^^^^  the  leaves  with  the  side  of  the 

t"not"tk%at'  '%f^  ^"^^'   -  ^^^^  *h^  '-ve 
^rt„r.   .  V    u     ^^"''y  ^^^^"   the  leaves  in   the 

picture,  to  see  if  they  were  painted  in  that  way 

39 


n  j 


^1 


OUTLINE  OF  DRAWING 


BEFORE  DISMISSING  THE  CLASS  FROM  THE  LAST  LESSON  OF  THE 
WEEK,  TEACHERS  SHOULD  ASSIGN  AND  DISCUSS  WITH  THE  CLASS 
THE  LESSON  OF   THE   SUCCEEDING  WEEK 


To-day  we  have  become  acquainted  with  w«. 
Hower.  To-morrow,  I  will  place  plenty  of  brown-eyed 
Susans  where  you  can  see  them  plainly,  and  your 
pictures  will  te  me  how  well  you  remember  your 
lesson  of  to-day. 


our 


Note:  In  plant  drawing  it  is  of  the  iitmo«st  itiimrtance  that  snerimfn.. 
are  placed  so  that  each  pupil  can  see  one  plainly.  Alain  he  teache^sh^uld 
see  that  the  size  and  shape  of  the  paper  upon  which  tie  children  XfS 
SaSyVuC  """^"^  '"  ''''  "^^  ""'^  shap^'ofThe'll^dmen 


40 


Suggestive  Lesson  No.   3. 
Subject:  ILLUSTRATJVK  DRAWING 

(For  Advanced  Primary  Grades) 


In  our  desire  to  acquaint  little  children  with  the 
use  of  materials  and  with  certain  processes  or  methods 
of  work,  we  are  apt  to  forget  that  they  should  have,  at 
frequent  intervals,  an  opportunity  to  express  themselves 
in  a  free  and  unhampered  way.  Without  such  exercises 
we  shall  fail  to  develop  in  the  children  any  individuality 
of  expression  or  any  great  freedom;  they  will  fall  into 
the  habit  of  expressing,  in  the  teacher's  way,  some  idea 
that  the  teacher  has  imposed  upon  them.  To  offset  this 
tendency,  illustrative  drawing  is  most  valuable,  and 
should  not  be  neglected.  In  such  work  the  teacher  may 
help  the  children  to  think  definitely  about  what  they 
are  to  draw,  but  she  is  not  to  tell  them  what  to  draw,  nor 
how  to  draw  it.  Neither  is  she  to  criticise,  except 
incidentally,  the  technical  quality  of  results;  she  is  to 
look  for  the  story-telling  quality  as  the  moit  im- 
portant point,  and  judge  very  largely  from  that  as  to 
the  excellence  of  the  work. 

In  presenting  for  the  first  time  an  exercise  of  this 
kind,  a  little  device  known  as  a  "  finder"  will  be  of  great 
assistaixce.  This  consists  of  a  piece  of  cardboard  or  stiff 
paper,  measuring  four  by  five  inches,  in  which  a  rec- 
tangular opening  is  cut  out,  the  opening  measuring  two 
by  three  inches.  A  finder  and  Drawing  Book  should 
be  on  each  child's  desk. 

"In  your  Drawing  Book  are  many  pictures — pic- 
tures of  out-of-doors,  of  flowers  and  plants,  of  children, 
of  animals,  and  of  many  things  that  you  see  about  you, 
or  of  things  that  you  are  some  time  going  to  make. 
On  some  pages  of  your  Drawing  Book  there  are  pictures 

41 


M 


OUTLINE   OF  DRAWING 


r^n^^?'''  "^  'T'*  '  •'""^'"''  ^'^'''"'  ^'J^^'  ^^  I'ttl^'  frame.    Who 
can  tell  nie  what  is  in  the  frame?" 

fhr.    i^  ^'""^-T ^^^^"t-"<"-doors in  winter —some  bushes 
the  sky,  a  girl  with  a  sled,  etc."  "usnes, 

almost^Iiik^'^^n/^T'  u'l  '■"'"''"'^  '^'"^'"'"^^^  that  look 
almost  alike  and  yet  which  are  not  just  alike,  after  all 

Who  c:an  tel    me  what  the  first  picture  shows.^"' 

Just  the  sky  and  the  ground." 

scinP  T'  V  ^'^"^  ^^[/^rst  little  painting  of  the  land- 
^^cape.  Is  there  anything  in  the  second  picture  that 
Ave  do  not  see  m  the  first.?     Who  can  tell.?"     '"'^  ^^^^ 

1  here  are  a  few  clouds  in  the  second  picture." 
.  f  fi      \u      '-J  'x-  ^^'^^  t'^'^*'^  l^^'^^t"^^"  that  is  not  in  either 
trc(s.     It  IS  the  best  picture  of  the  three  to  look  at 
pTe'as^a^t'i;;  '-^  "^  "'  ^'"i  ''''I '''''  '""^  ^^^  fields  and  a 

sr  ti-s^i^eP- ^^-^"^  ^^^'-  ^'^«  -"  ^'  - 

fh.  y\''  chiklren  describe  what  is  shown,  guided  by 
the  teacher  s  questioning.)  sumcu  uy 

''Now,  Alice  may  find  a  picture  in  the  book  —the 
one  she  likes  the  best  of  all,-and  Ruth  may  descr  £e 
the  picture  that  Alice  has  chosen.  You  see  th  Jt  pictures 
tell  us  stearics,  sometimes  better  than  words  can  tell  us 

s^  wen  if"  h  "".  ^'^'  ^""^  ^^^^^'"^  ^«°k  or  your  read'; 
so  well  if  they  had  no  pictures  in  them,  would  you?  Let 
us  close  our  books,  and  find  pictures  somewhere  else 
On  your  desk  you  Mill  find  something  that  looks  like  a 
httle  picture-frame.  VVe  call  it  a  finder,  and  you  wlfsee 
how  useful  It  IS  in  helping  us  to  find  pictures  Take  up 
your  htt  e  frames;  hold  them  with  both  hands  in  fron? 
of  you,  like  this."  (The  teacher  holds  hers  in  both  hands 


42 


SUGGESTIVE  LESSONS 


THE    BEST    TEACHING   IS    THAT   WHICH    RESULTS    IN    FITTING    THE 
STUDENT  TO  STUDY  INTELLIGENTLY  WITHOUT  A  TEACHER 


at  arm's-length,  straight  out  in  front,  with  the  opening 
opposite  her  eyes.)  "What  do  you  see  in  your  picture, 
Mary? 

"I  see  the  teacher's  desk,  a  chair  in  front  of  it,  and 
back  of  th.nt  the  blackboard." 

"What  do  you  see,  Harold?" 

,j  'l\  ^?,^  ^^^  window-sill,  with  the  plants  and  the 
gold-fish. 

"And  what  does  Henry  see?" 

"  I  see  Jennie's  head  and  shoulders,  the  bow  on  her 
hair,  and  the  desk  in  front  of  her." 

The  finders  may  be  moved  about  and  new  pictures 
found,  the  exercise  being  planned  to  assist  in  concen- 
trating the  attention  on  some  definite  space. 

"You  have  seen  to-day  how  man>-  pictures  may  be 
found  inside  these  little  frames.  I  am  going  to  ask  you 
to  take  the  frames  home  with  you,  and  look  at  some- 
thing on  the  way,  or  at  home,  that  you  think  would 
make  an  interesting  picture.  To-morrow  vou  mav 
tell  me  what  you  saw." 

Upon   resuming   the   exercise   the   following  day 
the  children  are  asked  to  tell  what  pictures  they  saw 
through   their   finders.     The   answers   may   be   some- 
what as  follows: — 

"I  saw  a  high  fence  with  a  bush  sticking  out  over 
the  top;  the  top  of  a  house  showed  in  the  finder,  too." 
I  saw  a  dead  tree,  with  a  bird's  nest  on  one  limb 
and  a  big  white  cloud  in  the  sky,  behind  the  tree." 

r    1  '  li  ^^^  ^  "^^^  carrying  a  bag  upon  his  back.     A 
little  black  dog  was  trotting  after  him." 

I'  I  saw  some  boys  playing  marbles  on  the  sidewalk." 

11  ,  .   J  ®^V  r^  ?^°^^'  ^^^^  ^^^  barrels  and  boxes  and 
all  kinds  of  fruit  outside." 

The  teacher  who  is  able  to  sketch  upon  the  black- 
board will  find  the  interest  (and  hence  the  memory  and 


43 


.25^  O^  DRAWING 


imagination)    much    increased    ,7    T       1"  

quickly  upon  the  blackK^lr!?  ^''^    sketches    very 

described  by  the  S^erLTdT''  '  '  '""'^  P'<^^"'2 
I>ne  to  represent  the  finde"'  or  fh.  ^  "^'"^  ^"  enclosing 
picture.     In  such  work  u^  ^ho    L^'T^"^'  'P^^^  of  the 

chalk    and  draw  only  tL  impor^^^^^^      "  ^^°^^  P'^^^  ^^ 

Now  you  mav  L^J    important  masses. 
what  you  ^.w-nTin't.n^l'.-nd  paper  and  ,el.  „,e 
^  I  can  tell  what  you  hive  «en    '^n""''''-     '  «""  ^^e 

words  but  let  your^ictures  teTi  the  sSrv™ '  '"P'"'"  '" 
i  he  next  phase  nf  ft,;  ■    .  ^'^o'^y- 

some  definite  fhou^t  sunnrd'' ''  ""■  ■""''nation  of 
teacher.  Up  to  this  ,i>int^he  ounH '"t.^^'"  u"  ''>'  'h"^ 
the.r  own  separate  ways  earh  '^"]"'''.}'"'<^  been  going 
thought  to  be  iilustrat«f  ■  Now  ^''"''"^  "-^  'dea  o? 
mon  thought,  to  be  foHowed  ^It  ^^  "*"■'  *'"'  «  com- 
■ttle  m,nd  and  imagina  fon  ^av  n?rt '""•''^  ^'  """^^ 

apron  tied  with  a  big  bow  h,  th„  k'*^?'  ""''  "  white 
she  wore  the  queeres?  suTbonnl't^t  ever^sL'^!^  "''' 

conveyTpfct^rlZ^talltTSr'"/  '"''  -"0"ih  to 
crayons  or  water-colors  Jre  ,  "^1?"''  '""'^'-  C<^"^ 
work,  though  it  can  (J  h  *^  '  ."'^'^'^nce  to  such 
"ayon,  or  tvith  bJush  ^d  Tnk. ""       "''™"''    '""^^ 


Croups  in  Outline.     Well  Composed  and 
Correctly  Spaced 


45 


U  II 


Showing  Blocked-in  Sketches  of  a  Group  of  Fruits 


46 


Sugyrcstivc  Lesson  No.  4. 
Subject:    A  GROUP  OF  OBJi:CTS 

(For  Intermediate  Grades) 

A  successful  lesson  in  object  or  Rroup  drawing 
dept'uds  very  largely  uix)n  three  thiuKs:  (i)  on  the  se- 
lection made  of  the  objects  or  groups  Uy  be  drawn ;  ( 2)  on 
the  number  and  [)Iacin.ij  of  these  objects  or  j^roups-  ( 3) 
on  the  points  develoiK-d  liy  an  intelhjient  presentation 
ot  the  lesson  by  the  teacher. 

It  IS  essential  that  as  nian>'  ^^roups  shall  be  proNided 
as  there  are  aisles  in  the  room,  -a  group  to  be  placed  on 
boards  across  every  other  aisle  on  the  fn^nt  desks,  and  a 
second  group  placed  half-way  down  the  same  aisle  This 
enables  every  pupil  in  the  room  Kj  i-ct  a  good  \wv<  of 
some  group,  and  permits  individual  obserxation.  which 
is  the  end  sought.  Never  ask  all  the  pupils  in  a  rocmi 
to  dra\y  from  an  object  or  a  group  placed  upon  the 
teacher  s  desk.  This  is  a  very  common  and  serious 
mistake. 

The  points  to  be  de\el()ped  in  the  presentation  , 
such  a  lesson  are  as  folhnvs:  choice  of  objects  of  simple 
construction  that  seem  to  belong  together;  that  are  not 
just  alike  in  size;  that  show  contrasts  of  light  and  dark 
values;  the  arrangement  of  the  grouj)  for  unit>-;  the  ex- 
pression in  the  drawing  of  pro|)er  size,  relative  projMjr- 
tions  and  distance;  the  characteristic  shape  or  outline  of 
each  object  in  the  group. 

Materials:  The  Drawing  Book  intended  for  this 
grade  pencil  and  9"  x  12"  manila  paper  on  each  desk. 
We  are  going  to  make  a  study  to-day  of  a  group  of 
two  objects,  and  I  want  >-ou  to  observe  the  group  bef(jre 
you  so  carefully  that  you  will  be  able  to  draw,  after  this, 
any  group  of  two  objects  iliat  you  mav  see.  Look  at 
the  group  before  you.  Helen,  what  are  the  objects  in 
your  group.?" 

47 


^\ 


^BitaawT 


OUTLINE  OP  DRAWING 


''A  tea{X)t  and  a  cup." 
"Fred,  what  is  in  vour  ffroup?" 
''A  pitcher  and  a  lx)vv'." 
''Grace,  what  have  you  to  draw?" 
*'  I  have  a  saucepan  and  a  turnip." 

What  have  you ,  Fred  ?" 
I' A  glass  with  a  straw  in  it  and  a  lemon." 

C  harles  may  tell  what  he  has." 
"An  earthen  kettle  and  a  beet  " 
"What  has  Kthel?" 
"A  watering-pot  and  a  fl«wer-jar." 

'  7''*  ^'''""'''  ^r."  ^"  '"ff^'rent,  you  soe,  yet  they  are 
made  of  common  things  that  we  use  at  home.  I  have 
put  m  them  the  thmgs  that  are  often  used  together,  and 
are  often  seen  m  each  other's  company.  This  we  must 
a  ways  be  careful  to  think  about  when  we  are  arranging 
objects.     Suppose-  I  had  arranged  a  group  of  this  kind : 

o.Lwv  ^^^  ""rP"^?  tJ^^^^'ai^nng-Pot  and  the  lemon 
together);  or  like  this:  (the  flower-pot  and  the  sauce- 
pan);   or   like   this:    (the   glass   with   straws  and    the 

sf"rTna^'  \v   '^''"  'J  u'^^  ^^^^  ^^^  ^''°"P«  ^""'d  seem 
strange.     VVe  would  have  an  effect  like  discord  in  music 
^  you  see  that  we  must  look  for  harmony  in  our  groups 
as  well  as  in  our  music.  groups 

"Look  at  your  groups  again,  now  that  I  have  ar- 
ranged them  as  they  were  before,  and  tell  me  about  the 
sizes  of  the  objects.  Belle,  are  your  two  objects  of 
the  same  size.? 

"No,  the  teapot  is  larger  than  the  cup." 
"In  each  group  you  will  find  that  there  is  a  differ- 
ence m  size;  there  is  something  tall  and  something 
short,  so  that  the  shapes  of  the  objects  in  vour  drawing 
will  not  be  of  the  same  size,  or  their  tops  appear  on  the 
same  level.     We  must  have  variety  in  our  drawing 

Look  again  at  your  group,  William ;  you  are  look- 
mg  at  the  pitcher  and  the  bowl.  Which  is  the  darker 
of  your  two  objects?" 

48 


/ 


FREEHAND-DRAWNGiOFA-CABINET 


J 


m 


m 


»0«      lntk.vt» 


#      --"  '^E^^       I 


A  Working  Drawinf?  of  Three  Vwws,  a  Persfjective 
Skctih  and  Detail  Drawings 


Composition  and  Spacing  of  a  Group  of  Objects 


49 


moM    THE   rRANC    PROGRESSIVE   LESSONS   IN   ART    EDUCATION        SECOND   YEAR. 

How  to  Paint  and  Mount  a  Mnpic  Leaf 
50 


SUGGESTIVE  LESSONS 


"The  bowl  is  dark  brown,  and  the  pitcher  is  light 
with  a  blue  band  near  the  top."  ' 

I' Belle,  which  is  the  darker  object  in  your  group?" 

"The  saucepan;  the  turnip  is  almost  white,  and 
the  outside  of  the  saucepan  is  dark  blue." 

"You  will  find  that  each  of  your  groups  has  a  dark 
object  and  a  light  object.  Even  in  this  group  (the 
lemon  and  the  glass)  the  glass  looks  very  light  because 
It  has  a  light  paper  behind  it  as  a  background,  and  the 
lemon  is  darker,  in  effect,  than  the  glass.  We  have 
spoken  before  of  this  quality  of  light  and  dark  as 
value.  So  we  see  that  it  is  well  to  have  in  our  groups  a 
contrast  or  variety  of  values. 

"Once  again  study  the  group  before  you.  This 
time  observe  carefully  how  the  objects  are  placed  in 
relation  to  each  other.  You  do  not  see  them  just  alike 
of  course,  for  some  of  you  are  sitting  on  the  left  of  the 
g-oup  you  are  to  study,  and  some  are  on  the  right. 
But  you  can  tell  me  something  that  is  true  about  the 
arrangement  of  the  objects. 

"Alartha,  ca:  /ou  tell  me  how  your  objects  are 
placed.'' 

"They  are  placed  near  together." 

]|Yes,theyareneartogether;butaretheyinarow?" 

^^  No;  one  object  is  a  little  ahead  of  the  other." 

"That  is  right;  in  all  the  groups  one  object  is  a 
little  ahead  of  the  other,  and  to-day  I  have  placed  in 
each  group  the  small  object  a  little  in  advance  of  the 
larger.  John,  do  you  see  a  space  between  your  objects?" 

"No.  I  am  looking  at  the  teapot  and  the  cup, 
and  the  cup  laps  over  and  hides  a  part  of  the  teapot." 

"Charles,  you  are  sitting  on  the  other  side  of  the 
aisle;  how  do  you  see  it?" 

"  I  see  a  little  space  between  the  objects;  I  can  see 
all  of  the  teapot  and  all  of  the  cup." 

"I  wish  you  would  all  look  at  your  groups,  and 
hnd  out  whether  your  objects  are  spaced  a  little,  or 
whether  one  object  hides  a  part  of  the  other.     (The 


51 


OUTLDfE  OF  DRAWING 

children  observe,  and  make  the  various  reports.)  You 
see  It  does  not  matter  whether  the  objects  are  somewhat 
spaced  or  whether  one  hides  a  part  of  the  other  If 
spaced,  the  distance  between  them  must  not  be  so  great 
that  we  lose  the  idea  of  a  group;  and  if  they  seem  to 
overlap,  one  object  must  not  stand  directly  in  front  of 
he  other,  like  this  (demonstrates),  so  that^he  sha^  o 
the  group  is  unpleasant.  ^ 

h.fr.r7^^''t  '^'  ""T   T""^   ^^^"S   ^^^t   we   must   find  out 

before  we  begin  to  draw.     Look  again  at  your  group 
Observe  the  height  of  the  taller  and  farther  object    See 
where  the  top  of  the  nearer  and  shorter  object  comesin 
relation  to  this  height.     Is  it  as  high  as  the  middle  of 
^e   arther  object  or  is  it  below  or  above  the  middle 
Nellie,  you  are  looking  at  the  lemon  and  the  glass.  Tel 
me  how  high  on  the  glass  the  top  of  the  lemon  appears  " 

middJo^%hfgSs!?' ""'  °'  ''^  '^"^^  ^^"^^^  ^^^°-  ^h^ 

"  Do  you  know,  Nellie,  where  you  would  draw  the 

bwer  curve  of  the  lemon  in  relation  to  the  base  o^  the 

;;U  would  come  below  the  base  of  the  glass." 
mat  is  nght.  This  is  a  very  important  point 
and  we  will  be  able  to  understand  it  bet^r  if  weTok 
at  some  pictures.  Open  your  Drawing  Book  to  a  page  of 
object  drawing.  Find  a  picture  of  a  group  som™ 
like  the  groups  you  are  studying.  There  are  two 
objects,  a  kettle  and  a  beet.  Look  at  the  dra^ng  of 
the  beet,  and  tell  me  where  the  highest  part  of  the 
curve  comes  in  relation  to  the  kettle  " 

"It  comes  a  little  above  the  bottom,  and  hides  a 

l?.T  °^  ^^^  '"^^^^e  of  the  kettle." 
to  theYetde?"  '^'  ^''^'""'  ^^''  °^  '^"  ^^"^'  '"  ^^'^^'o" 

;;  It  is  quite  a  little  below  the  bottom  of  the  kettle." 
c«o«,  .1"  another  page  of  object  drawing.  Which 
Set?"^'       "'^'''  '°  "''  '^'  P""^P^"  °^  ^^e  bushel 


5« 


I 


A  Perspective  Sketch  from  the  Object 


Showing  Grouped  Objects  Treated  in  Outline 
Note  the  Composition  and  Spacing 


9^1 


53 


Mass  Drawings,  from  Common  Objecti 


54 


SUGGESTIVE  LESSONS 


"The  pumpkin." 

"Yes.  Notice  that  it  is  drawn  lower  on  the  paper 
than  the  basket.  Turn  to  another  page  showing 
object  drawing.  Which  is  the  nearest  thing  to  us  in 
this  picture?" 

''The  boy." 

"Yes,  the  boy  is  a  very  h'ttle  nearer  to  us  than  the 
tree,  and  both  tree  and  boy  are  much  nearer  than  the 
distant  trees.  \'ou  will  find  that  the  nearest  thing  to 
us  in  pictures  is  always  draivn  lowest  on  the  paper. 
The  only  other  question  we  have  to  settle  is  how  much 
lower  on  the  paper  we  must  place  objects  that  are  near 
in  order  to  express  just  the  right  amount  of  distance. 

"  Close  your  books  and  place  your  papers  in  jiosition 
to  draw.  Before  you  draw  the  shapes  of  the  objects  in 
your  group,  I  wish  you  to  place  four  short  dashes  to 
show  the  height  and  width  of  the  larger  and  farther 
object.  Then  place  four  dashes  to  show  the  height  and 
width  of  the  smaller  and  nearer  object,  being  sure  that 
you  place  this  second  set  of  four  dashes  in  the  right 
relationship  to  the  first  set.  When  this  is  done,  draw- 
through  these  dashes  light  pencil  lines  that  will  show 
the  general  shapes  of  the  objects.  Then  I  will  pass 
about  the  room,  and  see  if  you  have  located  >'our  objects 
to  express  your  group  truthfully." 

The  work  should  be  carefully  looked  after  at  this 
stage,  as  the  expressions  of  distance  and  of  relative  pro- 
portions are  more  important  at  this  time  than  the 
careful  drawing  or  the  finish  of  the  objects.  The 
pupil  should  not  be  allowed  to  "finish"  his  drawing, 
even  in  outline,  until  he  is  able  to  block  in  the  objects 
-to  show  distance  and  relative  proportions.  When  he 
can  do  this,  not  only  from  one  group,  but  from  an>- 
simple  group  of  two  objects,  he  may  draw  the  outlines 
carefully,  working  over  the  light  "  blocking-in "  lines, 
and  may  finish  his  drawing  in  accented  outline  or  in 
values,  as  the  teacher  may  decide. 


in 


55 


Suggestive  Lesson  No.  5. 

Subject:    DECORATIVE  AND   CON- 
STRUCTIVE DESIGN 

(For  Intermediate  Grades) 

h.l..^^/r^  ^^m'"^  "P  ^^^  particular  lesson  outlined 
below,  the  pupils  are  supposed  to  have  accomplished  the 
work  usually  covered  in  the  Primary  Grades.     They 

nencT  ml':/^"  ''"•"'  ^'''^  "''-'-■"^aker.  test-square, 
pencl  manila  practict  paper,  scissors,  some  large 
simple  flower  like  the  dog-wood  blossom,  and  the  Draw- 
ing  Book  on  each  desk. 

in  whl^^  are  to  have  a  most  interesting  lesson  to-day, 
in  ^v  hich  we  shall  use  our  circle-makers  and  test-squares 
As  a  beginning,  you  may  draw  a  circle  on  your  papers" 

ctrhavt  Kat^..^' ^  ^"^'^^-  ^^^"  ^^^^^  ^''  '-' 
three'inches.'-'''^^"'  '"  '  '"^  '"''^^''  '^^  ^^^"^^ter  will  be 
"  Very  well  Let  the  circumference  of  your  circle  be 
drawn  with  a  light  pencil-line,  and  be  sure  that  the  circle 
measures  three  inches  in  diameter.  Using  your  test- 
square  at  the  center  of  your  circle,  rule  two  radii  at  right 
angles  to  each  other.  Repeat  to  secure  four  right  angles 
jlres?-'"  ""^"^  ^"^^^^^^rs  have  you  in  your  cifcle,' 

''We  have  two  diameters." 
''How  many  radii,  Julia.?" 
"We  have  four  radii." 

parts',"Sorge?""  '""'^'  *'  ""■"'" '"'°  ''°*  """"^  '^l"^'' 

''  Into  four  equal  parts." 
.      ''Yes,  we  have  four  spaces,  just  alike  in  shape  and 
size,  m  our  circular  held.    Let  us  suppose  that  we  wish 

56 


i-o 


mnmnm 


-i III. 


^.^..a. 


Simple  Elements  of  Design 


(  i^^w^ifm 


Two  Decorative  Arrangements  of  Nature  Forms 


r  1 


I^SfeS^Sj 


IT~7~W 


^ 


Insect  and  Flower  Motifs  used  in  Design 


57 


& 


ii 


Structural  Designs 


i 


) 


) 


^-  c'T^ 


V 


^JtXJlXL 


at(^ 


The  Use  of  Borders 
58 


SUGGESTIVE  LESSONS 


^ 

s 


to  make  a  decoration,  something  like  a  rosette,  within 
our  circle.  How  many  units,  or  shapes,  would  the  divi- 
sions already  made  within  our  circle  naturally  suggest?" 

"We  could  repeat  a  unit  or  shape  four  times, 
placing  one  shape  in  each  quarter  of  our  circle." 

"Yes.  There  are  many  arrangements  that  we 
might  make,  but  I  think  you  will  know  what  arrange- 
ment I  have  planned  for  you  if  you  look  at  the  flower 
on  your  desk.     Do  you  know  what  flower  it  is,  Malx-l.?" 

"I  think  it  is  the  blossom  of  the  flowering  dog- 
wood tree." 

"So  it  is.  Some  other  simple  flower  might  have 
l>een  selected,  but  the  dog- wood  blossom  was  par- 
ticularly good  for  our  lesson  to-day.  Do  you  know 
why,  Frank.?" 

(Frank  examines  the  flower.) 

"I  think  because  it  has  four  large  petals,  and  we 
have  four  spaces  to  fill  in  our  circle." 

"Yes,  it  will  be  easier  to  arrange  four  shapes  than 
five  or  six  or  seven,  in  the  circle  as  we  have  divided  it. 
Some  other  day  we  will  plan  a  design  in  which  we  will 
repeat  more  than  four  shapes  about  a  center.  You  may 
each  pull  off  one  of  the  four  petals  of  your  flower,  and 
lay  it  on  your  desk,  where  its  shape  may  be  plainly  seen. 
Make  a  careful  drawing  of  it  in  life  size  What  do  you 
notice  about  its  shape,  Edward?" 

"The  part  farthest  from  the  centjr  is  widest  and 
the  petal  has  a  little  scallop  or  notch  in  the  top." 

"Yes,  that  notch  or  scallop  is  one  of  the  character- 
istics of  the  dog- wood.  Kate,  will  you  look  at  the  petal 
and  tell  me  if  the  curve  is  exactly  alike  on  both  sides,  so 
that  if  you  folded  it  in  the  middle  both  sides  would  be 
precisely  alike?" 

"No,  the  two  sides  are  not  exactly  alike." 

"  It  is  somewhat  irregular,  it  is  true.  All  natural 
growths  are  more  or  less  irregular — some  more  so  than 
others.  But,  from  the  suggestions  of  these  natural 
growths,  we  can  draw  regular  shapes  that  are  suitable 


59 


. 


lir. 


orruifB  OP  DRAwnfo 


for  designs  I  wish  you,  now,  to  take  a  small  piece  of 
paper  and  fold  it  m  the  middle.  Near  the  crease,  draw 
as  accurately  as  you  can  the  curve  of  half  of  your  petal. 
Lut  on  this  curve  with  your  scissors,  so  that  the  folded 
yorMTnntr        "^'     Open  your  paper.     What  have 

r^Jlfhr^/  paper  pattern,  shaped  very  much  like  a 
petal  of  the  dog- wood  blossom." 

petal?'^^^  ^^  "°^  ^°"'"  °^"^''"  ^''^'''•y  ^^^  *^^P^  °f  ^^^ 

"Because  my  pattern  is  exactly  alike  on   both 
sides,  and  the  petal  is  not." 

r.,t  lZ?u  ""^^  ^"u^^  '/  y°"  ^^"  *""^  yo"*-  patterns,  or 
2lZT^\T%  '^^^  '"  '"^'■^  "^^^'y  "J^^  the  petal  in 
mnS^Jl  J^  r^  first  pattern  you  made.  The  patterns 
must  all  be  alike  on  both  sides.  Perhaps  those  you  cut 
at  the  first  tnal  are  too  wide  at  the  top,  or  too  narrow, 
or  too  pointed  or  possibly  the  shape  of  the  notch  is  not 
as  t  should  be.  Cut  several  patterns,  if  necessary, 
until  you  have  a  shape  tha^  is  as  nearly  like  the  flower 
shape  as  possible,  and  is  perfectly  balanced. 

Our  next  step  is  to  lay  our  paper  petal  in  or  .  of  the 
divisions  of  our  circle;  place  it  between  any  tv     of  the 

ntti  "°fiii°T  ^  '^'^^".'-  ^"^^'  ^o  yo"  th.,.k  your 
Sfn„M"?  l^  ^^^  space  (a  quarter-circle)  as  well  as  it 
should.?  Remember  that  we  are  to  repeat  the  form 
our  times  about  a  center;  each  unit  should,  in  this  case, 
use  nearly  all  the  space  allowed  for  it." 

,|I  think  my  pattern  is  too  smal!." 
..n;.       T^'  "P  5^°"^t  yp^  will  all  wish  to  enlarge  your 
ri^- n     "^'^  ^'^^'^f  "^^'^  *^"  ^^^  board,  with  the  four 
radu  like  yours,    nd  sketch,  in  one  of  the  quarter  sec- 
tions, a  shape  that  I  think  is  large  enough,  and  you  may 
decide  whether  your  patterns  should  be  enlarged  or  not 
m  order  to  properly  fill  your  spaces.     You  may  trace 
iW^nn";?!  •!"  e°'arged  pattern,  correcting  and  changing 
Th^"  L     "^^""^  well  adapted  to  your  quarter-circle 
Ihen  trace  around  the  pattern,  moving  it  to  each 


60 


SUOOBSTIVB  LESSONS 


? . 


field  until  four  repeats  are  made.  Join  the  outline  of 
the  petals  somewhat  as  I  have  joined  the  units  in  the 
sketch  on  the  board.  When  your  rosette  is  complete, 
cut  out  the  shape  of  the  rosette,  cutting  on  the  lines 
that  appear  heavy  in  the  blackboard  sketch." 

^     Note:     For  the  teacher's  suggestion  in  making  this  sketch,  Fig.  i  is 
given  below. 

After  having  made  a  decorative  form,  the  pupils 
will  be  much  interested  in  applying  it  to  some  object 
that  may  be  used.  A  pen-wiper  suggests  itself  as 
particularly  appropriate.  In  order  to  secure  the  right 
color  combinations,  the  material  would  better  be 
purchased  expressly  for  this  use.  Three  tones  of  brown, 
green,  red,  blue  or  violet  may  be  ustH  Talk  with  the 
pupils  about  the  kind  of  material  best  for  wiping  pens. 
Bring  out  the  idea  that  the  commonest  articles  of 
daily  use  may  be  thoughtfully  planned  and  artistically 
finished. 

Fig.  2  shows  a  pen-wiper  made  of  three  tones  of 
brown  flannel.  The  middle  tone  is  used  for  the  larger 
circle  at  the  bottom :  this  is  a  circle  that  is  3K  inches 
diameter.     Several  circles,  3    inches   in   diameter, 


in 


are  cut  from  the  darkest  tone;  these  are  the  "wipers." 
The  decorative  top  is  cut  from  the  lightest  tone,  using 
the  paper  pattern  prepared  from  the  dog-wood  blossom. 
The  several  circles  are  then  arranged  as  shown  in  Fig.  2, 
fastened  together  with  a  cross-stitch,  and  finished  with 
a  small,  flat  button,  of  suitable  color. 


ftm.l 


Vi«.t 


Suggestive  Lesson  No.  6. 
Subject:  ANIMAL  DRAWING 

(For  Intermediate  Grades) 

In  the  primary  grades  animals  have  doubtless  Ix-en 
drawn  or  pamted  to  son^f^  extent,  but  such  work  has 
probably  appeared  in  cairnc  tion  with  illustrative  draw- 
iriK.  HI  which  animals  are  sketched  from  memory.  (> 
If  It  has  Ix-en  possible  for  sketching  to  be  done  from' 
animals  brought  to  the  schoolroom,  there  has  been 
probabb  very  little  analysis  of  forms  or  proportions.' 
In  the  intermediate  grades  the  methods  of  presentation 
are  H.rterent  in  this  as  well  as  in  other  divisions  of  draw- 

"  •"•.  i  Pu^P''""  ^^^  ?^^  ^"  ^^"^y  animals  in  the  same 
-  f.int  that  they  are  led  to  study  still  life  objects,  flowers, 
or  the  andscape-as  features  of  their  environment,  as 
parts  of  their  life.  For  this  reason,  we  cannot  afford  to 
neglect  so  universal  an  interest  as  animals  in  planning 
an  educational  course.  ^ 

The  common  domestic  animals  should  be  studied 
trom  hfe.  In  every  schoolroom,  some  pupil  will  be 
tound  who  IS  willing  to  bring  a  pet  dog,  cat.  rabbit,  or 
Pigeon  to  schoo  .  Or,  a  hen,  rooster,  duck,  goose,  or 
turkey  may  be  borrowed  or  rented  from  a  market  if 
these  fowls  are  not  procurable  from  the  homes  of  the 
children.  ^^  Of  course,  the  animals  must  not  be  expected 
to  pose,  or  to  keep  a  fixed  position  for  any  length  of 
!!!"^'umT"^  ^^'''''  Pfe^nce  in  the  schoolroom  will  enable 
the  children  to  study  their  proportions  and  their  charac- 
teristics, even  if  their  positions  are  constantly  changing 

1  here  are  many  interesting  ways  of  beginning  this 
work  with  pupils  who  have  not  studied  animals  serious- 
ly before  As  a  preliminary  exercise,  the  pupils  may  be 
asked  to  draw,  m  mass  or  outline,  any  animal  that  thev 
can  remember.     Select  ten  or  a  dozen  of  these  attempts, 

6a 


FaptT  Cut  Animals 


Designs  on  Squared  Pap-r 


A  Decorative  Treatment  of  a  Plant  Form 


63 


^^^^^  ^ 


1 1^ 


if:: 


ift 


Objects  That  Are  Like  a  Sphere 


^  0^  I 


Action  Silhouettes 


64 


SUGGESTIVE  LESSONS 


I 
I 


place  them  before  the  class  and  call  upon  the  pupils  to 
name  them.  After  this  experience,  the  pupils  will  prob- 
ably realize  the  necessity  of  a  closer  observation  of 
animals  than  they  have  before  given. 

Let  us  suppose  that  a  fox  terrier  has  been  brought 
to  school  for  the  lesson.  If  he  is  a  well-trained  dog  he 
may  be  induced  to  stand,  sit  or  lie  upon  a  table,  in  front 
of  the  school.  The  pupils  are  supplied  with  practice 
paper,  charcoal  or  soft  pencil,  and  the  Drawing  Book 
for  the  grade  in  which  they  are  working. 

''We  have  a  distinguished  visitor  with  us,  to-day 
who  has  consented  to  remain  a  short  time,  so  that  we 
may  make  some  sketches  of  him,  from  life.  As  we  do 
not  wish  to  weary  our  guest  or  to  impose  too  much 
upon  his  patience,  we  must  work  faster  than  usual  and 
try  to  get  just  as  many  sketches  as  possible  while  he  is 
here. 

"Open  your  Drawing  Books  to  a  picture  of  a  dog. 
Is  our  model  like  any  one  of  the  dogs  you  see,  Philip?" 

"He  looks  a  little  like  the  middle  picture  in  the  top 
row,  but  his  head  is  a  different  shape." 

"What  is  the  difference.?" 

"The  dog  we  are  to  study  has  a  narrower  head,  and 
a  longer  and  more  slender  nose." 

^JS'°  y°"  ®^^  ^"y  ^^^^^  points  of  difference,  Jessie?  " 
(The  pupils  give  various  points  of  difference  and  of 

similarity  between  the  dog  before  them  and  the  sketches 

before  them.) 

"Let  us^study  the  lines  of  our  dog,  as  he  stands 
betore  us.  (The  dog  is  supposed  to  have  taken  a  posi- 
tion in  which  some  of  the  pupils,  at  least,  can  see  him  in 
side  view.)  Of  course  he  will  change  his  position 
frequently,  but  we  can  all  see  him,  at  different  times, 
sufficiently  well  so  that  we  can  rapidly  draw  a  few  lines 
locating  the  back  of  the  head,  the  end  of  the  nose,  the 
size  and  direction  of  his  neck,  the  line  of  his  back,  the 
under  line  of  his  body,  the  length  of  his  body,  the  height 
of  his  legs,  and  the  position  of  his  tail.    By  the  time  you 

65 


OUTLINE  OF  DRAWING 


s- 


JR 


1^ 


have  done  this,  or  before,  he  will  probably  have  changed 
his  position.  But  from  any  position  he  takes,  we  can 
study  these  general  proportions.  Much  of  our  work 
must  be  done  from  memory,  and  having  the  dog  before 
us  gives  us  a  chance  to  refresh  our  memory  as  often  as 
IS  necessary. 

Having  the  shape  of  our  dog  blocked  in,  we  can 
now  compare  our  quick  sketch  with  our  model.    What 
do  you  find  to  be  the  trouble  with  yours,  Rachel?" 
"I  think  the  head  is  too  large  for  the  body." 
"What  do  you  think  of  yours,  Harold?" 
"My  sketch  shows  the  body  too  thick." 
''And  yours,  Frank?" 
"The  legs  in  my  sketch  a^e  too  short." 
(The  pupils  make  various  criticisms  on  their  own 
work,^  brought  out  by  questions  from  the  teacher.) 

"Of  course,  these  first  sketches  of  yours  show  pro- 
portions, only.  But  if  proportions  are  wrong,  no 
amount  of  careful  finish  will  make  the  drawing  good. 
Study  the  model  again,  as  he  stands  or  moves  about,  and 
make  such  corrections  as  you  can,  in  the  proportions 
of  the  parts  your  first  rough  lines  express. 

"When  you  have  corrected  your  errors,  study 
your  model  again,  this  time  for  the  location  of  ears, 
eyes,  nostrils,  etc.  Correct  the  placing  of  these  parts 
after  careful  observation  and  comparison  of  your 
sketch  with  the  dog.  You  are  now  ready  to  draw  care- 
fully the  shapes  of  the  legs,  body,  head,  and  all  of  the 
parts.  The  dog  will  probably  not  stand  still  while  you 
do  this.  You  must  seize  your  opportunity  to  study 
and  draw  the  shape  of  any  part  that  you  can  see.  In 
finishing  your  drawing,  try  to  give  the  outline  a  some- 
what gray  and  accented  quality,  like  the  sketches  in  the 
book,  to  express  the  hairy  or  furry  character  of  the 
dog's  coat.  Last  of  all,  put  in  any  characteristic 
markings  or  spots  that  the  model  shows." 

After  an  exercise  of  this  kind,  the  sketches  of  all 
the  pupils  should  be  displayed  for  class  criticism. 


66 


I 


Suggestive  Lesson  No.  7. 

Subject:    FIGURE   DRAWING 

{For  Grammar  Grades) 

Before  reaching  the  grammar  grades,  pupils  are 
supposed  to  have  made  some  progress  in  drawing  from 
the  figure.  In  the  primary  grades,  drawing  from  the 
human  figure,  like  animal  drawing,  is  quite  spontaneous 
in  character,  and  is  never  subjected  to  rigid  criticism  or 
analysis.  The  children  are,  in  those  grades,  chiefly  in- 
terested in  the  various  actions  of  the  figure  which  they 
may  desire  to  express  in  connection  with  their  illustra- 
tions of  stories  or  occupations.  In  the  intermediate 
grades  some  analysis  of  proportions  and  parts  has  been 
made,  and  the  pupils  in  grades  seven  and  eight,  if 
they  have  taken  this  work,  know  how  to  approach  the 
subject. 

They  have  already  learned  that  the  details  which 
seem  so  important  and  so  interesting  to  little  children, 
such  as  the  buttons  on  shoes  or  jackets,  the  decorative 
pattern  of  an  apron  or  shirt-waist,  ruffles,  bows-or  other 
"trimmings,"  are  really  very  unimportant  indeed,  com- 
pared with  the  leading  lines  of  the  figure,  the  propor- 
tionate length  of  head,  waist,  skirt  or  trousers,  the  length 
and  positions  of  the  arms,  and  the  proportionate  widths 
and  depths  of  the  figure.  Perhaps  they  are  so  well 
grounded  in  essentials  that  they  can  slight  the  placing 
of  the  eyes,  nose,  mouth  and  ears,  having  found  that  a 
well-drawn  figure  of  a  pose  is  recognizable  without  the 
addition  of  features.  They  have  found  that  in  figure 
drawing,  as  well  as  in  object  or  landscape  drawing, 
attention  to  the  big  things  leaves  little  to  be  done  in 
regard  to  the  drawing  of  the  little  things. 

We  will  suppose  that  the  lesson  following  is  given 

67 


OUTLINE  OF  DRAWING 


to  a  seventh-grade  class  that  has  had  the  preliminary 
training  suggested  above. 

• '  You  will  find  on  your  desks  a  6"  xg"  sheet  of  light 
tinted  paper  a  soft  sketch  ng  pencil,  and  your  regular 
Drawing  Book.  We  are  to  draw  to-day  from  a  pose,  and 
I  wish  you  to  select  a  girl  who  wears  a  dark  skirt  and 
a  light  waist.     Who  shall  it  be.?" 

"Lucy  has  a  light  shirt-waist,  a  dark  skirt,  and 
some  dark  bows  on  her  hair. " 

"Very  well,  Lucy  shall  pose.  Here  is  a  large  box 
for  her  to  stand  on.  It  will  be  easier  for  Lucy  and  will 
add  interest  to  our  sketch  if  we  gi»c  her  some  occuoa- 
tion.^    What  shall  she  do?"  ^ 

"She  might  hokl  a  book,  as  though  she  were 
reading. 

"Yes,  she  may  really  read  from  this  book,  if  she 
likes,  or  she  might  carry  a  basket  or  pail,  a  school-bag 
or  a  package  of  books;  or  she  might  put  her  hat  on  and 
carry  a  suit-case  or  an  umbrella,  or  a  white  hat-box 
Lucy  may  decide  what  she  would  like  to  do." 
''I  think  I  would  Uke  to  be  reading." 
"Very  well.    Before  Lucy  poses,  let  us  open  our 
Drawing  Books  and  find  similar  figure  sketches.    Tell 
us  about  what  you  find,  Howard." 

"The  sketches  show  two  stages  in  the  drawing  of 
a  figure.  The  left  sketch  shows  what  has  been  done 
first  in  putting  in  the  leading  lines." 

"Yes;  the  proportions  and  parts  of  the  figure  have 
evidently  been  carefully  studied  before  any  masses  have 
been  laid  in  or  definite  drawing  done.  The  head  has 
been  treated  as  a  shape  in  itself,  the  waist  has  been 
blocked  in,  and  the  skirt  handled  in  a  similar  way.  The 
shape  of  the  watering-pot,  the  arm,  legs  and  feet  have 
all  been  located.  This  sketch,  you  see,  gives  us  the  cor- 
rect placing,  the  general  shape,  and  the  right  size  of  all 
the  parts  of  the  figure.  Now  Lucy  may  take  her 
position  on  the  box.  Turn  your  side  view  to  the  class 
Lucy. 


68 


A  First  Sketch  in  the  Study  of  a  Pose 
69 


h  I 


i 


First  and  Second  Steps  in  Figure  ami 
Action  Drawings 


r 


^1  \    \    ^^''N.  r\ 


I 

Showiw  CoTTO,  D„™g  o,"^' 


s  and  Feet 


'  I 


70 


SUGGESTIVE  LESSONS 


I 


Hold  your  book  easily  and  naturallv  n«  tUr.,,  u 

reading  a  paragraph  in  class   "fc^^^^^^^^^ 

make  our  sketch?"  "c^ry,  now  tall  shall  we 

our  pap^?."  '  "  ''•°"'''  ■*  "  ""'^  '^-  'h""  'he  height  of 
shoul7£'' Co"uttv':„'7nr  hiX"'°-'^^  '°"^  ^^'^^ 

of  your  ^a"p^r„x'at"it'd:sr  ^■?i;,rv,''^  ""•''1."' 

top  of  the  head  An  ;„  k  /  ',  *'"  '"^"'f  th* 
a/other  dash  T^locare  The  hT  A,?  '"""'"'  P'"" 
ments  must  fall  bet^eenX^Jl^.^ZerwlTr'- 
vertica   penc     held  at  arm'..  i^   ^u  *^^^"  >^^"r 

:n°Ll£j;'-£^3M'i:e-ii:j-t^ 

ii::^nfar'«r!S^fes«^^^^^ 

high  as  the  waist  line?"  ^""^  °^  y^"""  P^"^''  ^^ 

;; No;  it  is  quite  a  little  below  the  waist  line  " 

"I  fiTd  .r^""  ^"^^^'^  nieasurement.  Mary>" 

below  Ih'etat  ?fnT ''^'"^^  ^^^  ^^^  ^^  ^^^  P^-^-mes 

"What  does  this  show,  Alice?" 

head  to'htrTais'tt  llr^AT  'Ti-'^^  '^^  ^^  Lucy's 
waist  to  her  heels  '  '^^"  '^^  ^'^^^"^^  f'-«'"  her 

pencii^nd  tlV  t'estimat  ?L'''  — .— ts  on  your 
the  wist  in  voir  sketch  hvn?  ^^""^'"'r  '^^^"  '^^^^e 
you  think  th'e'wystlho'l^^'^oVnow  h"^'  ^t'' 
important  points  located-th^*  top  of  Z  h  ^'^r 
waist  and  the  hppi      Moo  P      .  ^"^  "^ad,   the 

and  find  the  height  of  the  h'' J'^^'"  ""''^  ^^^"^  P^"^"' 
distance  to  the  wai^/t  Ma^^^^^  as  compared  vith  the 
Next,  find  bv  oeS  m«  ^*'*'  °"   y^"*"   sketch, 

skirt.  Locate  th"s  wT"""''^'  '^^  '^"^^^^  "f  ^hc 
heights  ofThe  parts  of  o^figZ  ^W  '^^  '"''^"^^^"^ 
for  the  variou^  widthsTf  tr^^,^^  ^ra^'^h^ 

71 


OUTLINE  OF  DRAWING 

thfh..!^^T'^  ¥t?"  "^'^^  y°"^  P«"c>'  the  height  of 
the  head.     Keep  this  measurement  with  your  thumb 

tTh^^n'  rS.^  h°n^o"talIy.  and  measure Ve^^dTof 
the  head  at  about  the  level  of  the  nose.  Indicate  this 
proportion  m  your  sketch  with  blocking-in  Hnes  sug- 
gesting the  shape  of  the  head  and  face.  Do  the  same 
r-\!^'^  l^apes  of  t.>e  waist  and  skirt.  L^ate  t^e 
height  of  the  shoes  and  the  width  of  the  legs.  Measure 
and  locate  the  position  .  nd  action  of  the  arm  and Xk 
in  Its  shape,  and  also  thu  of  the  book.  Your  drawing 
at  this  stage  should  have  something  of  the  aDoearance 

?  pa':  Ltut  the'  "  ''^  ^'f-     L"^^  nia/?eTwhn: 
figures."  ''°°"'  ^'^"^"^  ^*  y°"^  blocked-in 

at  thi?^rnr  °4.^,^"^'-^!  P^oWtions  is  very  important 
at  tms  point.     The  pupils  should  not  be  permitted  to 

rnrl^rl^""  ""'''  '^"''  ^'f^^^^^V  sketch  ifreasonab  y 

bn^gihis  riLrr  • ''  "^^^  '^'^  -^^-'  '^-«-  ^' 

I  u"?^?r'^f^*"fl^^^^y^«^  Pencil  rendering.  Louis 
look  at  the  sketch  in  the  Drawing  Book,  and  teU  me 
which  are  the  darkest  masses  shown  there." 

Jhe  nbbons,  the  collar,  the  belt  and  the  stock- 

"Which  masses  are  next  in  value,  Martha?" 
^^  1  he  skirt  and  the  shoes,  I  think  " 

Alfredr       ^^'""^    "''''''^'    ^'^    ^   ""^^    "ghter    still, 
^^^;'I  think  the  masses  of  the  hair  and  the  watering- 

all,  mdar  '''"''  '''•  ^""^  "^^''^  ^'^  '^^  "ghtest  of 
;;  The  masses  for  theface.the  hand,  and  the  waisi. 

the  sketch?"  ''^"^  ''^'"^  '"  ^"  ^^^^  b^^"  "^d  in 

"  I  think  about  four  values." 

o„^  '^^^  f  ^^  ^^  ^"^  ^^"  express  as  much  in  our  sketch 
and  use  only  four  values.     Lucy,  will  you  stand  aga^n 

72 


;:^.^:i::ua:::t:3t::ttvht 


#-- 


iipsaspiiiiaffl 


'^L  LET  MY  HEART  BE  JUST  IN  SIGHT- 

EMILY  DICKINSON 


WILLIAM 
CAXTON 
ENGLAND 
CHAUCER 
CANTEI^- 
URY  TA= 
AED  INN 
FIRKIN 
PJOV 


Practical  Alphabets  with  a  Suggestive 
Spacing  of  a  Quotation 


73 


r 


iP 


74 


SUGGBSTIVE  LESSONS 


I 

i 

i 


please?    With  long  strokes  that  follow  the  direction  of 
the  hair  (its  arrangement  and  growth)  lay  on  the  value 
the  hair  trying  to  secure  the  value  you  do  Are  at  one 
.M.oke.     We  must  express  the  value  of  Lucy's  hair 

nIv^^   '•'/''*  '^u  ''^'r  °^  ^^^  8^^^'«  ^^^  in  the  book.' 
rlK^'       i^  °"  i.^^  ''^'."^  y°"  "^  to  express  the  dark 
nbbons.     Lay  this  value  on   with   forceful,    vigorous 
strokes,  obtaining  the  crisp,  dark  eifect  at  once.   Going 
over  pencil  strokes  a  second  time  always  injures  the 
?h'T"^;.  ?^i^'""^'"^the  value  of  the  skirt.     Observe 
the  length  of  the  pencil  strokes  used  in  laying  in  the  mass 
for  the  skirt  in  the  book,  and  try  to  get^l  sMar  hTnd 
ling  in  your  drawing.     Finish  the  other  part  ,  in  the 
same  way,  after  deciding  on  the  right  values    Tne  waist, 
^ce,  hands,  and  any  other  light  values  are  to  be  express- 
ed in  outhne,  their  values  being  shown  by  the  value  of 
the  paper.     Outlines  for  these  parts  should  be  ^ay 
and  expressive,  with  occasional  accents.     To-mon-ow 
we  will  have  a  class  criticism  of  the  sketches  mad^to 


I 


i 


#^ 


75 


Suggestive  List 
of  Art  Books  and  Art  Materials 

ART  BOOKS 

Graphic  Drawing  BfK)ks,  Nos.  i    -   .    .   r  ^  .  «      j 
High  School.  '  *'  ^'  *♦'  5'  6,  7,  8  and 

Hand-Painted  Color  Charts,  Nos    ,  to  8 
Outl.ne  Color  Charts  for  Coloring  N<      ?  .«  « 
Art  Education  for  High  Schcx,Is  ^  '"  ^ 

TOPIC  BOOKS  OF  ART  EDUCATION 

1.  Pictorial  Representation 

2.  Perspective  Drawing 

3-  fjgure  and  Animal  Drawing 

4.  Mechanical  and  Constructive  Drawing 

5-  Architectural  Drawing  ^ 

6.  Design 

7.  Historic  Ornament  and  Art  History 
How  to  Enjoy  Pictures,  by  Mabel  S   Emerv 
Illustrated  Exercises  in  Design,  bv  E  izaberYr   R        u 
Pencil  Sketching,  by  George^Koch  ^  ^'  ^''"^^ 

&nf  ^^"""""^  Arrangement,   by  Frank  A. 

With  Pen  and  Ink,  by  James  Hall 

W'  rtr?  '^T'V"«^  ""^  "'"'y  Turner  Bailey 
^'SP,^^^""'^  °^  ""  ^'""P'^  B""''"'.  by  Salter 

f^^fL^l^'"K^y  "'"O-  Turner  Bailey 
Art  of  the  Ages,  by  Marie  R.  Garesche 

gHm"  ?™'''r.n\''y  C.  W.  Stoddard 


76 


f 


SUGGESTIVE  LIST 


I 


Manual  Arts  Portfolios  in  five  parts 

^ature  s  Aid  to  Design,  by  Bunce  and  Owe 
Prang  Neutral  Scale  of  Values 

ART  MATERIALS  AND  WATER  COLORS 

PRANCJ  WATER   COLORS 

Water  Color  Box  No.  i      four  cakes 

Water  Color  Box  N*..  2    -three  cakes 

Water  Color  Box  N..  vV   four  cok.s.  No.  7  brush 

Water  Color  Box  \  ..  .     fourwliolc  pans  semi-moist 


Water  Color  Hoy 


().  s 


tiirhi    i:ilf  p;ins  semi-moist 


High-Sch(K>|  Water  CI,,  \lnx  No.  ,6     sixteen  half 

pansot  scmi-moist  and  two  brushes 
Water  Color  Cakes  and  I'  ms  for  •nfilis" 
Moist  Water  Colors  in  Tubes  -  ivNenty-eight  colors 
Tempera  Water  Colors  in  Tul -s     twenty  colors 

I  empera  Board  for  Tempera  Pain ,  .ng  (s.r.a  for  samph 

tiold  and  Silver  Paint 

Mixing  Tray 

Stick  Printing  Dyes,  3  pans  of  color,  6  sticks 

V^  eaving  Papers  in  Book  forni~20  sheets,  20  colors 

Water-Color  Brushes- Nos.  6,  7,8,  10,  and  Double-end 
Brush  (Nos.  4  and  7) 

Double-Lipped  Water  Pan 

trench  Charcoal 


PRANG  COLORED  CRAYONS 

Art    Education    Crayons,    No. 

crayons,  Tuck  Box 
Art    Education    Crayons,    No. 

crayons,  Hinged-cover  Box 
Crayonex,  No.  3—8  wax  crayons 
Crayonex,  No.  4—16  wax  crayons 
Crayonex,  No.  5—4  large  size  crayons 


I — 8    small    earth 
2—8    large    earth 


m 


// 


i 


ii 


If     ^1 


it 


i! 


I  i 


SPOOESnVE  UST 

PJ^^NP  COLORED  CRAYONS  (Continued) 

Colo"''°""~    ""  "^y°"^-  ^P'^  B™wn  in 

Pastefl"'''lsP"''°"*~*  "**  crayons 
Artists'  Pastel  Crayons,  216  Colors 

"^"Cfletr""'"""     ""'"'■"     ('«"<'    f°'    Sample 

Alra^trN;;^%""3(r3''nS'f  ^'"■''^  B-'''") 

^'"Knt^r'""''  ^°'"  '  '"''  '  ^"""*  ^°'  ^'"'  °f 

Erasograph  Paper 

PRANG  DRAWING  PAPER  ASSORTMENTS 
Primary  Assortment  (send  for  Lif,  ,  f  Contents) 
t^rammar  Assortment  (send  for  Li^.  of  Contents) 

PRANG  SCHOOL  DRAWING  PORTFOLIOS 

Paper  Portfolio— two  pockets 
c  S^^^^^^^  Portfolio— with  tapes 

'^Xiu'Sltrsfr';'"'""^'  """'  ^^o'™'  Soft- 

Soap  Eraser 

Ink  and  Pencil  Eraser 

PRANG  INDIA  INK 

I  ounce,  with  penholder  bottle 

I  pint,  bottle 

I  Quart,  bottle 
Round  Pointed  Scissors— 4"  blade 
Sharp  Pointed  Scissors— 4"  blade 

78 


OPART  BOOKS  AND  ART  MATERIALS 


^^Zttle  ^~^"^"""  individual  bottle ;  2-ounce  class 

Oil  Dyes— eight  colors 

Permanent  Mixture— 4-ounce  bottle 

PRANG  STIXIT  PASTE 
4-ounce  Collapsible  Tube 
4-ounce  Large  Mouthed  Tin  Can 
K-pint  Tin  Can 
i-pint  Tin  Can 
i-quart  Tin  Can 
I -gallon  Tin  Can 

Prang  Atomizer-Japanned,  with  hinge  eyelet 
Prang  Stenci  Brushes,  No.  S-round-3^inch  diameter 
Prang  Stencil  Brushes,  No.  7-round-^.  nch  d  ame  er 
Stencil  and  Woodblock  Knife  «nch  diameter 

Stencil  Board  cut-5  x  6,  10x12,  and  20x24  inches 

yards  ^^^'  ""^  ''"^"  '"  'P^^'^  ^^  '°o 

Stencillex-cotton   fabric-by   the   yard,    36   inches 

wide  or  m  packages  of  25  pieces,  cut  9x12 
Hand-woven  kussian  Crash  by  the  yard,  40  inches 

Art  Linen  by  the  yard,  32  inches  wide 

?n^-    M "^T  ^u^'^  ^Y  '^'  y^*"^'  24  inches  wide 
India  Net  by  the  yard,  44  inches  wide 

India  Hoss  m  %:-pound  reels 

hanlcs^"^^"""'^^'  '^'^'■''  '"^  natural- i^.pound 


I 


PRANG   POTTERY  MODELS 

Set  No.  1—6  models,  different  forms  and  colors 

Set  N^'  ^        "''''^5'','  ''i'?^''^"'  ^^^'■"^^  ^"d  colors 
bet  No.  3—10  models,  different  forms  and  colors 

79 


SUOGESnVE  LIST 


fofecuTa'rf  •'"'^''  "•"  "P  50  in  a  box  („„<, 

"'irdteclr^'""-^^  "^"-P'--  7-9  inch« 
Wooden  Models,  Set  No.  a<^  „,odek,  ,x.  inches 

^"  M°'  ^i~^  ""^^'*>  '*2  inches 
^«No.  ,6-ismodels,2X4inches 

P^!f  r""""§  ^'*''  '"8<^  ^bber  type 
Hiawatha  pictures,  8  pictures,  in  color 


^y  0/  these  Jn  Books  or  Art  Materials  may  be  f  urchased 

or  tnformatton  had  concernirtg  them  by  ad^ZZg 

THE   PRANG  COMPANY 

New  York,  Chicago,  Boston,  Atlanta,  Dallas, 

Winnipeg,  Toronto,  Montreal,  Halifax 


80 


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